The Naked Maja

In her very pleasant memoirs ,Ava Gardner recalls Anthony Franciosa's very "actor's studio method " acting ,which she did not take seriously :his performance when he is delirious and when he proudly tells the Holy Office that the beauty of a woman was given to man by God is revealing;Gardner tells us how much time he spent wondering how he would play "THAT " scene ,how he would deliver "THIS" line.

Koster's direction is mediocre at best ,static and academic ,not even using Goya's art -what Vincente Minnelli did with Van Gogh in "lust for life" -;anyway as an user has already pointed out the Maja does not resemble Gardner and for a good reason: the picture was made for Manuel ,the villain of the movie ,and it represents his hot lover Pepita!The screenplay is confused ,it's a stodgy mixture of art,religion,intrigues ,irresolute king,wicked minister and Napoleon's army around the corner.

For all that,Mrs Gardner's extraordinary beauty survives and even if the movie does not satisfy,the simple fact of watching her will make your day.She would prove ,in her following movie ("on the beach") and even more in "the night of the iguana" that she could act ,and superbly act when she was given decent scripts to work with.

"The Naked Maja" has beautiful sets and costumes, but only a passing acquaintance with reality. About the best that can be said is that it features some impressive views of Miss Gardner's lovely bosom.

Diego Velázques (1599-1660) painted one of the earliest known Spanish nudes, the Rokeby Venus, featured as the "loot" in the film "The Happy Thieves."

About two centuries after Velázques, Francisco Goya 1746-1828) painted a short, plump nude maja (street girl) reclining on a bed. When this picture was criticized as obscene, he painted the same girl again, in the same position but dressed, which makes her more, rather than less suggestive. The chunky girl in the "maja" paintings does not resemble Goya's portraits of the Duchess of Alba in any way.

When I was last in the Prado the two majas were hanging on either side of the door to the room housing the portrait of King Carlos IV and family – and the queen was definitely not the lovely young woman who played the part in "The Naked Maja."

Goya also painted two portraits of his very close friend, the tall, angular Duchess of Alba, in one she is dressed in white and in the other, in black. The 'black portrait' shows the duchess pointing imperiously at the ground where the words "solo Goya" ("only Goya") can be seen written in the sand at her feet.

Milos Forman's "Goya's Ghosts" (2006) is a far better film and much closer to historical fact. Goya's passing affair with the Duchess of Alba, who was certainly not the girl in the Maja paintings, does not figure in the latter film.

I'm an avid Ava Gardner fan, but this film ranks near the bottom of her career efforts, with 'The Bible', 'The Blue Bird', etc. 'The Naked Maja' is beautiful enough to look at, but is poorly directed, narrated, and edited. The story of the Duchess of Alba, could have been the basis for a much more interesting film, but this film is a lesson in missed cinematic opportunities. Ava, more commonly called 'the most beautiful animal in the world', possessed a raw, exciting sexuality, that provided the few sparks, in an otherwise lifeless film. I definitely did not consider her the most beautiful women in films, but certainly one of the most sensuous. This was not a major film, and Anthony Franciosa was not a major star; even though I loved his work in 'A Hatful Of Rain'. I wanted to love this film, when it was released, and I was hopelessly smitten with Miss Gardner. Ultimately, I had to admit that it was not as good as some of her other disappointing films, like 'The Sun Also Rises', 'The Little Hut', 'Bhowani Junction', just to name a few. 'Mogambo', 'The Barefoot Contessa', 'Showboat', and 'The Night of the Iguana', were my personal favorite Ava Gardner films. Ava Gardner would rank right behind Hedy Lamarr and Elizabeth Taylor, as the most beautiful women in the world. Costumes for Ava, in 'The Naked Maja', were quite good.

"The Naked Maja" is a fictionalized account of the life of the Spanish painter, Francisco Goya (Anthony Franciosa). It mostly centers on his relationship with the Contessa de Alba (Ava Gardner)...a relationship whose depth is really unknown today. Yes, we know that they were on good terms...but whether she was ever his lover or posed for the famous painting "The Naked Maja" (in the Prado museum in Spain), is really unknown. I really don't mind that the writers took liberties about their relationship...but there is a HUGE problem with the script. In real life, before he met the Contessa, Goya became DEAF! This is never mentioned nor alluded to in any way...and making a deaf man non-deaf is ridiculous. I don't mind some creative changes...but making him hearing just doesn't make sense. Add to this that the film is incredibly dull and listless, then you have a movie I really didn't like. I think my being an ex-history teacher accounts for a lot of this...as well as my having deaf family members. Overall, the writer forgot to do ANY homework and the film is sluggish.

If THE NAKED MAJA had a better script more faithful to the true life story of Spanish artist Francisco Goya and his affair with the Duchess of Alba, this may have been worth all the expense that went into producing it. There are fine production values including the gorgeous costumes worn by Miss Gardner, the opulent settings, the detailed color photography and the pretty background score full of pseudo-Spanish themes.

As a romantic drama, it only exposes the clash of two different acting styles--the overly intense histrionics employed by ANTHONY FRANCIOSA in the method tradition and the more natural technique of screen acting from AVA GARDNER as the woman he falls helplessly in love with at first sight. Her aloof demeanor only makes her more irresistible and there is one brilliant dance scene where the fiery Spanish flamenco music makes their emotions come to life vividly at least for the length of this sequence. Otherwise, their pairing as lovers never seems as intense as the script would suggest.

Despite an overuse of eye make-up, Gardner at this point in her career was still very attractive in what is basically a one-dimensional role as an aloof woman with a past who cannot bring herself to declare love for the artist until it is too late.

Henry Koster's direction is a tad too slow in pace but the main fault is the script which never permits the two leads to be anything more than one-dimensional in concept.