Set in Baroque France, a scheming widow and her lover make a bet regarding the corruption of a recently married woman. The lover, Valmont, bets that he can seduce her, even though she is an... See full summary »
Claude Bukowski leaves the family ranch in Oklahoma for New York where he is rapidly embraced into the hippie group of youngsters led by Berger, yet he's already been drafted. He soon falls in love with Sheila Franklin, a rich girl but still a rebel inside.
The painter Goya becomes involved with the Spanish Inquisition when his muse, Ines, is arrested by the church for heresy. Her father, Thomas, comes to him hoping that his connection with Brother Lorenzo, whom he is painting, can secure the release of his daughter. Written by
The film starts in 1792 with the inquisition examining Goya's etchings "Los Caprichos". In fact, the etchings were not created until 1797. See more »
Forgive me, Father Lorenzo, but um, have you ever been put to the... to the Question, yourself?
Have I ever been?
Yes. Have you ever been subjected to the Question?
Of course not.
Do you think that if you were, and they asked you to confess something grotesquely absurd... say... say you were told to confess that you're really a monkey.
[laughter around the table]
You're sure that god would grant you the fortitude to deny it? Or would you rather confess to being a monkey? To avoid the pain.
[...] See more »
A film by Milos Forman is always an event. This will probably not
remain as one of the best in his career, and was surrounded by a level
of controversy, not the least among critics who received it very
differently. Yet, it is certainly a film to watch.
The story actually does not have Goya (Stellan Skarsgård) in the
center. It is rather the story of a corrupt morality policeman of the
18th century (Javier Bardem) imprisoning a young girl (Natalie Portman)
on the unjust suspicion of practicing Judaism in secret. It is the
story of a police state built on social injustice relying on pretended
moral puritanism in order to save the system. This happens at the price
of huge human suffering like the drama in the center of the story, and
here is the painter as a witness, living the dilemma of becoming
involved as a human or remaining a witness as an artist. We know what
path Goya chose.
I was not unhappy neither with the acting, nor with the story line,
although it is a little bit too melo-dramatic and too much prone to
coincidences. Forman is not so much focused on the drama or better say
melo-drama, or even in the historical detail, although he seems to be
on familiar ground getting back to the period in 'Amadeus'. What he is
busy with seems to be more re-creating some of Goya's paintings and
prints and tracing back the origin of inspiration of these
masterpieces. In a way the film can be read as justification of the
choice Goya made in life.
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