La conjura de El Escorial

Thin story. Great opportunities. And a tired tale. The dialogs are just signs for atmosphere. The acting is collection of different pieces. The action - crumbs from The three musketeers. Julia Ormond as new Milady, Juanjo Puigcorbe in the clothes of ambiguous puzzle and river of soulless words. A script with so many nuances in the boring swamp. Only virtue - first step to discover a Spanish history page. But may it enough ? Sure, the props, the costumes are beautiful illustration of Golden Age but facts and intrigues are suffocated in velvet coffins. May be a moral lesson ? I don't know. Is love story a good part ? Only as slice of old bread. A common movie about an exciting events ball. And the dreams about its possibilities.

The 'conjuration' in the title refers to a real event: the political assassination in Madrid of a high-ranking official in the Spanish court in 1578. A plaque marks the spot today in the exact corner of the street where it happened.

The script begins with the scene of the murder and then takes us back to recount the events leading up to it. There are many characters involved, and although at the beginning it is not clear why we are being introduced to so many, eventually they all find a reason for being there, from a priest who ends up a the centre of the investigation, to a young 'morisca', a half-Moorish girl who is plucked from the streets to serve in a rich house.

The film is not very imaginatively shot and some of the expository dialogue is quite clumsy: some actors seem to be there just to summarise in words what the atmosphere at the time was, which is always a pitfall in historical films. Many actors means many lines of dialogue and this film -not short, about two hours and a quarter long- is full of conversations, often stilted and stagy. There's a lot of standing upright with broody brows with the purpose of looking imposing and serious, in bunches around the king or other important characters. It is not a slow film, however, but it's not a swashbuckler either. In fact, the one time when we are given a good old sword-fight, it goes so lamely clichéd, with stalls of fruit and ceramic bowls being turned upside down in a street market and a couple of unrealistic fight moves, that it feels utterly wrong.

In its favour, the costumes are great and many scenes are shot at El Escorial itself, the palace-cum-monastery where king Phillip II pored over the business of governing the world's leading superpower. Some of the actors are quite good in their roles, and this despite a cast mixing Spanish and foreign stars. I would single out for praise Julia Ormond, who looks not a day younger than her 43 years old. With her ageing beauty, she brings alive one of the most fascinating characters of her time, the eyepatch-wearing princess of Eboli. Joaquim de Almeida is also very good as the vigorous secretary Juan de Escobedo, acting his scenes with much-needed energy. It is a pity, though, that the role of Jason Isaacs, Antonio Pérez, fizzles out somewhat towards the end, when he should be one of the most memorable characters, according to the real story. Juanjo Puigcorbé plays a more ironic and even affable Phillip than the sombre and adust quasi-monk we have seen in other portrayals. And I personally took a liking to Jürgen Prochnow's character, a local 'alguacil' (sheriff) who becomes involved in the matter both through his job and his private life.

The question at the heart of the film is: did King Phillip II order the dismissal of one of his own officials? This has been much debated by historians, and the evidence is not conclusive. It may have been in his favour because of political rivalries, but the public backlash would have been uncomfortable (as it in fact was), even for a monarch as self-assured and with so great a grip on power as he happened to be. This matter is one of the central charges against him laid out by the so-called 'Leyenda negra' (Black legend), with which other European rulers and political enemies sought to discredit him in public, in particular in the Netherlands and Britain. Whether the film takes a stance on it or not, you will have to see it.

This is a historical case shrouded in mystery, which history never managed to solve. And as the film warns in the opening credits, it is a fictional film based on real events and these real events are treated quite accurately, explaining the more accepted version of the murder of don Juan de Escobedo, secretary of don Juan de Austria, half brother of King Felipe II of Spain. Sprinkled with fiction such as the beautiful love story of the Moorish girl executed for having tried to poison Don Juan de Escobedo (a fact that was true, the film simply creates a background story for the girl). Excellent film that, those who have read about this topic, will greatly enjoy.

Great actors. Great costumes. Boring script. Boring acting. Boring directing. I saw until finish just because I love History of Spain.

It could have been a great movie on the right hands.

This costumer movie is partially based on historical events . It's developed in the court of Felipe II (Juanjo Puigcorbe) , the Prudent King . The situation of Low Countries ruled under Juan of Austria , his illegitimate brother is extremely dangerous . The protestant rebellion and the harassing by William of Orange make Flandes an uncomfortable place . Duke of Alba (Fabio Testi) regaining the king favour attempts to force measures over the rebels . Meanwhile , Ana of Mendoza (Julia Ormond) married one of Philip's minister , bore sons , and soon became a widow Duchess of Pastrana and princess of Eboli . She wears a patch over her right eye and is an ambitious woman with selfish aims . Antonio Perez (Jason Isaacs) is the first secretary to the Crown . Ana of Mendoza and Antonio soon become lovers and create a scandal in court , always the scenario of perpetual intrigue . Escobedo , John of Austria's personal secretary (Joaquim De Almeida) is sent to ask for liberation of Mary of Scotland and help to stifle revolts . He comes from Flandes to Madrid, but he aware passionate romance between Antonio Perez and Ana Mendoza . Then , a deadly conflict takes place ..

This is a lavish but slowly-paced costumer that has Julia Ormond wearing a black eye-patch as the one-eyed Ana of Mendoza whose gorgeous beauty is difficult to resist . Ormond is marvelously photographed throughout but the role , as written , and she gives her little opportunity to really shine , though being wasted . Jason Isaacs gives a convincing character as astute and mean Antonio of Mendoza . Jordi Molla plays with enormous distinction as Mateo Vazquez , the incorruptible priest . Personality and charisma of Juanjo Puigcorbe's portrayal as one of the most remarkable European kings that ever reigned . The rest of the supporting cast is average , as Blanca Jara as Morisca Desirea and Jurgen Prochnow as Espinosa , but neither the love story , nor the characters have much interest with the result which this duo doesn't work either as romantic couple . Extraordinary costume design by Javier Artiñano , accompanied by colorful , though some misty , cinematography by Carlos Suarez . Luxurious sets make excellent use of real locations in Spain and has a look of a great production . The motion picture was professionally directed by Antonio Del Real .

In 1955 was filmed by Terence Young an inferior version about these historic deeds titled 'That lady' starred by Olivia De Havilland in the role of Julia Ormond ; Gilbert Roland , role of Jason Isaacs ; Dennis Price, similarly to Jordi Molla character and Paul Scofield , role of Juanjo Puigcorbe , among others. And recently a TV series starred by Belen Rueda as Princesa de Éboli , Hugo Silva as Antonio Pérez and Eduard Fernández as Felipe II .