Present At The Creation-The
French Revolution Comes To Spain-Natasha Portman’s “Goya’s Ghosts” (2006)-A
Film Review
DVD Review
By Bradley Fox, Junior
[As of this post under
the new regime of Greg Green, formerly of the on-line American Film Gazette website brought in to shake things up a bit
after a vote of no confidence in the previous site administrator Peter Markin was
taken among all the writers at the request of some of the younger writers
abetted by one key older writer, Sam Lowell, the habit of assigning writers to
specific topics like film, books, political commentary, and culture is over.
Also over is the designation of writers in this space, young or old, by job
title like senior or associate. After a short-lived experiment designating
everybody as “writer” seemingly in emulation of the French Revolution’s
“citizen” or the Bolshevik Revolution’s “comrade all posts will be “signed”
with given names only. The Editorial Board]
Goya’s Ghosts, starring
Natasha Portman as Inez and Alicia, Javier Bardem as Lorenzo, Stellan Skargard
as Goya, a Spanish production done in English, 2006)
[I find it ironic that
one of the first assignments that new site administrator Greg Green has handed
out deals with the turmoil of the French Revolution through the prism of the
famous Spanish artist Francisco Goya which roiled through Spain during the
height of the revolution in France and later during various Napoleonic conquests
including Spain. Sometimes apparently, and this may have been Greg Green’s
point in assigning the review life mirrors art as in the case of Lorenzo, the
Spanish priest turned exiled partisan of the French Revolution and Napoleonic
agent during the French occupation in the early 1800s before his downfall at
Waterloo.
Seemingly a parallel
example exists between Lorenzo’s topsy-turvy career and fate and that of the
previous site administrator Peter Markin, who not so coincidentally was a good
friend of my father Bradley, Senior and who has recently retired from that
position after a vote of “no confidence” by the writers. The main reason given
was Peter’s obsessive tilting of the coverage of subjects in this space toward
events from the turbulent 1960s when most of the older writers came of age
exemplified by the over-the-top coverage of the Summer of Love, 1967 he ordered
the writers, young and old, familiar with the period or not, to cover. There
has been, and here the parallel with Francisco who would go to his execution
under the Inquisition once the French were defeated and swept out of Spain by
the British with the aid of Spanish guerillas, a persistent rumor that Peter
was purged and that the retirement ploy was just that a cover for the more aggressive
removal mainly through the efforts of the younger writers which in the interest
of transparency included me. So maybe Greg Green is trying to make a cautionary
tale out of using this film plot as a review. I will try to track this down as
I get more information by if you heard that one Peter Paul Markin has fallen
under the wheels of a modern day Inquisition don’t be surprised. Don’t be
surprised at all.]
*******
Artists, artist like the
title’s Goya sometimes have the uncanny sense to be at the right place at the
right time-at least the plot of this little gem of Spanish production film
would indicate that. He lived and worked in the time of the French Revolution
which was bringing a serious breathe of fresh air to feudal remnant Europe with
the overthrown of the monarchy and of the attempt to bring the new democratic
forms to the rest of the continent-including Spain which is where that
revolution intersects with what Goya was observing and painting. In a sense
Goya is all over the place in his work from the court painter to the royal
family to the painter of the horrific effects of war on civilians and soldiers
alike to the famous, or infamous if you like, painting of the Maja, the naked
Maja which may or may not have scandalized European sensibilities. That is the
subtext to the plot here where a Spanish priest, played by Javier Bardem, and
Goya, played by Stellem Skargard, intersect through a rich merchant’s daughter
model, played by Natalie Portman, whom Goya used and who inflamed the priest to
lustful and criminal desire.
Spain was, and maybe
still is, a tough dollar place to be a dissenter, dissenter mainly being
anything but a Roman Catholic and a hardened monarchist (and possibly a closet
Francoist fascist if the recent struggle for the legitimate right to
independent statehood of the Catalan peoples is any indication). Spain after
all was the land of Inquisition which did not take kindly to any dissenters and
had the means (torture and the rack, ultimately the auto de fe and the stake)
That is where the action in this film starts (so the faint-hearted should push
the stop button now). Lorenzo is the main prosecutor for the tribunals always
looking for victims via his extensive stoolie spy network and he finds one in
the person of the lusted after Inez. She goes into the dock after being
tortured for her confession and before long Lorenzo has had his way with her.
That way with her leading to her bearing his child. Eventually Inez get out of
the slammer but the place took a lot out of her, left her mentally damaged.
Meanwhile the Church has
no place for Lorenzo who is now considered an albatross around its neck and he
gets out of Spain by hook or by crook landing in France. The scene then shifts back
to Spain some fifteen years later. Like a lot of hard-boiled men who seek the main
chance he became a senior bureaucrat in Napoleon’s administration of Spain
after its conquest. Such men changing allegiance as easily as changing their
shirts. Inez has seen better days but Lorenzo is still interested in finding
his daughter. That search is interrupted by the British invasion which finds
Lorenzo unsuccessfully fleeing but being caught and once the old order is
reestablished the Inquisition in reinstated as well. Live by the sword die by
the sword Lorenzo is condemned and in a defiant and honorable finish refuses to
recant before he is executed.
What about Goya who
after all is the hook for anybody with artistic sensibilities to have even
bothered to watch this rather dragged out epic. He hovers over the scene doing
his sketches and plotting his painting while trying to help Inez as best he
could. But this film is mainly about Lorenzo and that is really the problem for
me since we all know every revolutionary period brings certain figures from the
old regime with them-after the masses have brought the changes and have fallen
back exhausted. The French and Russian revolutions were full of such men who
landed on their feet- for a time. Not enough Goya here to make this one move
off dead center.