Goya's Ghosts (2006)

User Rating:

7.0/10   

Director:

Milos Forman

Writers (WGA):

Milos Forman (written by) &
Jean-Claude Carrière (written by)

Release Date:

10 November 2006 (Spain)

Genre:

Drama

Tagline:

Tell me what the truth is

Plot:

Painter Francisco Goya faces a scandal involving his muse, who is labeled a heretic by a monk.

Plot Keywords:

Painter | Goya | Painting | Monk | Spanish Inquisition

Awards:

5 nominations

Cast

Javier Bardem	...	Lorenzo
Natalie Portman	...	Inés / Alicia
Stellan Skarsgård	...	Francisco Goya
Randy Quaid	...	King Carlos IV
José Luis Gómez	...	Tomás Bilbatúa
Michael Lonsdale	...	Father Gregorio
Blanca Portillo	...	Queen María Luisa
Mabel Rivera	...	María Isabel Bilbatúa
Unax Ugalde	...	Ángel Bilbatúa
Fernando Tielve	...	Álvaro Bilbatúa
David Calder	...	Monk 1
Frank Baker	...	Monk 2
Ramón Langa	...	Hooded Monk
Manuel de Blas	...	Pyre Monk
Andrés Lima	...	Confiscating Monk

Also Known As:

Los fantasmas de Goya (Spain) (dubbed version)

MPAA:

Rated R for violence, disturbing images, some sexual content and nudity.

Runtime:

113 min

Country:

USA | Spain

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital | DTS

Certification:

Germany:12 | Ireland:15A | Finland:K-13 | Netherlands:12 | USA:R | Switzerland:12 (canton of Vaud) | Switzerland:12 (canton of Geneva) | Italy:T | Brazil:14 | Portugal:M/12 (Qualidade) | Argentina:13 | Sweden:15 | South Korea:15

Filming Locations:

Monasterio de Veruela, Veruela, Vera de Moncayo, Zaragoza, Aragón, Spain

Company:

Antena 3 Televisión

Trivia:

The orange long-sleeved gown with accordion-pleat trim on the over-sleeves worn by an extra in the square at the end of the film is the same costume worn by an extra in the Pump Room when Anne talks with Mr. Elliot in Persuasion (2007) (TV), by Lady Willoughby when she meets Lady Russell in the Pump Room in Persuasion (1995), and by the dance teacher during the fan-language lesson in "The Regency House Party" (2004).

Goofs:

Anachronisms: In the first scene (dated 1792), it is stated that prints of Goya's anti-inquisition paintings are sold "even as far as Mexico". The use of the name "Mexico" is incorrect here, since at the time, it was actually a Spanish colony, not a country, and was known as "The New Spain". It was not until 1810 that the colony began fighting for its independence (on sept. 16th) in a war that lasted until 1821. Then it was known as "The Empire of Mexico" with Agustin De Iturbide as its emperor and included not only its present day territory but also the southern US states of Arizona, New Mexico, California and Texas among others, as well as the central American territories which later became Guatemala, Belice, Honduras, Nicaragua, El Salvador and Costa Rica. Later, in 1824 Iturbide was executed, the Central American territories became independent, and the first Mexican constitution was issued which established a republic as the form of government and for the first time used "Estados Unidos Mexicanos" (United Mexican States), or in short form Mexico, as the official country name. It was also at this time that the green, white and red flag with an eagle in the center was adopted (though the eagle was different from the present-day eagle on the country's flag).

Quotes:

[Bonaparte and Lorenzo are looking at paintings of Maria Luisa]
Joseph Bonaparte: I met her once... don't recall her being quite so ugly though. How did she have so many lovers?
Brother Lorenzo: [smiling] She was the Queen, Your Majesty.

Brilliant Portrait of Goya and Spain in the 18th/19th Century

Imagine the paintings and drawings of Goya in all their darkness and beauty coming to life - this is Milos Forman's masterful film. Goya (and us)witness the folly of the Spanish royal court, the murderous sadistic perversion of the Catholic Church, the cruel inhumane madness of the Napoleonic War, along with the sensuality and beauty of life passing. This is the film's main focus: to let us experience the time and place as if seen through Francisco de Goya's eyes. As expected of a Milos Forman's film, the locales, the customs, and the overall production replicates the Spain of the late 18th century and early 19th century with the exactitude of a court painting. The cast is also excellent. As an Inquisitor turned a Napoleon's officer, Javier Bardem deserves another Oscar nomination. Stellan Skargsdar as usual does a chameleon-like transformation this time into Goya. Natalie Portman elevates herself into a higher realm of acting as the doomed, beautiful Ines. And Randy Quaid steals the screen for a few seconds as the King. Milos Forman again has given us an emotionally- and intellectually-challenging portrait of a dark era and the role of art and artist. Although some of the dramatization is slightly contrived, the film is compelling and moving and its vision lingers as Goya's art.