Goya

Peter Greenaway was the first to show us that film could be "moving painting" (as opposed to moving photography). The life of Goya is reflected to the screen through his paintings and it is very beautifully done.Saura is very careful to stress the "artistic" side of Goya's personality and all his love affairs, political views are secondary to it. You can get a clear picture of what kind of a painter this spanish was. A little too formalistic maybe...Good job anyway. Pleasure for the eyes..

I do not know the price tag for this film, but my guess is that they could have used more dough. The Napoleonic Wars are hard to do on a budget. Tableau representations of Goya's works were charming. They went on too long and the acting added in was pure ham. The whole thing seemed a disjointed mess to me. I was reminded of Ken Russell's "The Music Lovers" in which Richard Chamberlain has a poetic delirium from typhus. Goya was obviously an accomplished political artist, yet the film portrays him as a narcissistic bumbler. As an American, I was impressed with all the overtly sentimental sexism and ageism at the heart of the movie. Old men obviously all dote and drool. Young granddaughters obviously grin and bear it. Wink. Wink. It was all too wholesome to be surreal and too surreal to be taken seriously as history. I had great hopes for it, but I was disappointed.

Life is but a series of fortuitous events called destiny. Francisco Goya lived a life fraught with fateful occurences which drove him to despair, and ended his days in Bordeaux. His three-times interpreter, Francisco Rabal, little knew as he made this film that he too would end his days in the same city. Such is the coincidence of life and death.

Goya (1999), made as `Goya en Burdeos', hints at these and other casualities in a refined genteel way, notwithstanding the sometimes temperamental mood of the Aragonés painter. The genius of this film is how Storaro's magnificent photography and Saura's gifted and inspired directing, actually brought to life so many of the painter's creations: paintings only seen in Madrid art museums or in books. It was a delight to suddenly recognize in scenes in the film some of these beautiful works, as if magically brought to life by technological tricks, but with so much care.

Rabal's interpretation is superb: it could not have been otherwise, this being the third and last time the old Murcian actor had to take on the task of being Goya. It is also worth mentioning Dafné Fernández, who gave an intelligently picturesque performance; as was to be hoped for after seeing her wonderful part as Fuensanta in `Pajarico' (qv) made one year earlier.

It cannot be denied that Storaro's photography frequently becomes one of the main protagonists in the film's telling. No doubt this is in response to the peculiarities of Saura's directing, and thus, for me, makes a near-perfect coupling. It must also be added that the music employed in the film has been exquisitely selected, first with Roque Baños' own composing beautifully intertwining with pieces by Boccherini, Couperin, Tchaickovsky and Beethoven, as well as by an anonymous 17th Century Spanish composer sounding very much like Luys de Narváez.

A serious film for those who appreciate excursions into historical cultural backgrounds balanced by a stately unhurried production.

This is a highly theatricalized vision of the notorious exiled painter. Picture was originally directed by Carlos Saura and filmed with a pervasive melancholy that does for slow drama . It is is an emotive biography (1746-1828), involving 18-19th century famed Spanish painter named Francisco De Goya Lucientes (Francisco Rabal and as young played by Jose Coronado) and famous model (Maribel Verdu) for the famed painting . It's a slow vision of Saragossan painter Francisco Goya Lucientes' last days in Burdeos , ill and deaf , as he wanders through the streets and remembers the citizens uprising against Napoleon troops . It portrays his relationship with historic personages as Duchess of Alba (Verdu) , Moratin (Joaquin Climent) , Bayeu and the scheming favorite Godoy (Jose Maria Pou). As Goya observes and reminds events, dances , parties , inquisition , French invasion that inspired his work ; as his reveries become tableaux of his paintings . As the highlights of the movie result to be when are brought to life scenes of known paintings as ¨Disasters of war¨, ¨Saturn devouring his sons¨, ¨portrayal of Carlos IV family¨,¨, ¨Los Caprichos¨ , ¨Black paintings¨ , and lithographs , among others . Two of Goya 's best known paintings are The Nude Maja and The Clothed Maja . They depict the same woman in the same pose, naked and clothed, respectively. Without a pretense to allegorical or mythological meaning, the painting was "the first totally profane life-size female nude in Western art" . The identity of the Majas are uncertain. The most popularly cited models are the Duchess of Alba , with whom Goya was sometimes thought to have had an affair, and Pepita Tudó, mistress of Manuel Godoy; Godoy subsequently owned them .

This is a costumer based on facts but predominates the slow-moving drama full of flashbacks with surrealist images , nightmarish scenes and colorful set-pieces . The picture relies heavily on relationship between Goya , his wife Leocadia played by Eulalia Ramon (real life spouse to Saura) , his daughter performed by Dafne Fernandez and Duchess of Alba acted by Maribel Verdu . Glamorously and sumptuously photographed by Vittorio Storaro , Bernardo Bertolucci's usual . Lavishly produced by Andres Vicente Gomez , the gowns are extravagantly magnificent ,luxury rooms and paintings pass by in front of your eyes and spectacular though theatrical production design . The sets are superb, at least as good as any other period piece films directed by Saura , furthermore great intervention by the group Furia Del Baus who carries out rousing choreography . Emotive and evocative musical score by Roque Baños. The motion picture is well directed by Carlos Saura , a good Spanish movies director. He began working in cinema in 1959 when he filmed ¨Los Golfos ¨(1962) also dealing with juvenile delinquency . Saura is a well recognized filmmaker both nationally and internationally, and in proof of it he won many prizes among which there are the following ones: Silver Bear in the Berlin Festival for ¨ La Caza or The Chase¨ (1966) his most successful film , and for Peppermint Frappé (1967), in 1967. Special Jury Awards in Cannes for La Prima Angélica (1974), in 1973, and for Cría Cuervos (1976), in 1975. Also, the film Mamá Cumple Cien Años (1979) got an Oscar nomination in 1979 as the best foreign film, and it also won the Special Jury Award at the San Sebastian Festival. In 1990, he won two Goya , The Spanish Oscar , as best adapted screenplay writer and best director. Saura became an expert on Iberian musical adaptations as ¨Carmen , Amor Brujo , Bodas De Sangre , Sevillanas ,Iberia , Salome, Fado, Flamenco ¨ and even recently Opera as ¨Io , Don Giovanni

Other films dealing with Goya's life are : ¨The Naked Maja¨ (1958) by Henry Koster with Anthony Franciosa and Ava Gardner ; ¨Goya¨ by Nino Quevedo also with Francisco Rabal ; ¨Los Desastres De Guerra¨ TV series by Jose Ramon Larraz with Enric Majo as Goya , ¨Volaverunt¨ (1999) by Bigas Lina with Penelope Cruz , Jordi Molla and Jorge Perugorria as Goya .

This movie portrays very well the Spanish history and like his last movies, Carlos Saura makes art out of the illumination and the colours. As usual, Paco Rabal is magnificent and Maribel Verdu is perfect for the role of la Duquesa de Alba, very sensual and a little evil.