Do you want to know one of my favorite paintings? It’s Francisco Goya’s Saturn Devouring His Son. One of Goya’s “Black paintings,” which he apparently did right on one of his own walls, is the image of a crazed Saturn (a.k.a. the titan, Cronus, in Greek Mythology) taking chomps out of one of his children and has always fascinated (and terrified!) me.
So, when I heard that there was a movie called Goya’s Ghosts that starred one of the GOATS of acting, Stellan Skarsgard, and another living legend, Javier Bardem, I knew I just had to watch it. And, watch it I did!
The 2006 film (It came out in 2007 in America) isn’t perfect, but if you’re interested in the time period, subject matter, and actors (Natalie Portman is also in it!) then this is just the film for you!
Firstly, It Displays One Of My Favorite Artists, Francisco Goya, In A Tight Spot
Now, even though I’m familiar with some of Goya’s work, I really didn’t know anything about him as a man until I watched this movie. Given how expressive and dramatic some of his paintings are, such as Witches’ Sabbath (The Great He-Goat), The Sleep of Reason Produces Monsters, and The Third of May 1808, I always envisioned Goya as a sort of loner who kept quiet and just painted in solitude.
I never imagined that he was actually a commissioned artist who often painted nobility, but that’s what sets the story in motion here. You see, Goya (Skarsgard) is painting a portrait of a priest (Bardem), and the priest sees a portrait of a woman (Natalie Portman) that Goya painted, and is attracted to her. He sneakily pursues her and then performs a heinous act on her, but I’ll get into that later.
Now, while the film is historical fiction, I would still consider it a period piece that isn’t boring (though, your mileage may vary). The movie takes place during the Spanish Inquisition, and Goya often finds himself caught in the middle when others have disagreements with each other, since he just tends to be in the wrong place at the wrong time.
I won’t spoil how he tries to keep out of trouble, but it’s really fascinating to see a version of Goya who is afraid for his own safety and has to think on his feet in order to not be in the crosshairs of the church.
Javier Bardem Is Terrifying As A Priest
One year prior to Javier Bardem terrifying America in No Country for Old Men (which you can actually stream for free right now), he was terrifying an audience in Spain with Goya’s Ghosts.
In the film, Bardem plays Brother Lorenzo Casamares, a priest during the Spanish Inquisition. Being of such high authority, he can use the “rules” against people, and he does so to a young woman named Ines (Portman), who he finds alluring. Ines is later brought into questioning for being Jewish, even though she claims she is not, and confesses due to extreme torture, after which she is eventually imprisoned.
Bardem’s character then does something truly heinous to Ines, which I’ll get into in the next section. It’s for this reason alone that he’s definitely a villain who steals the show (even though most would argue that Anton Chigurh is the more terrifying antagonist).
It’s a really icky performance, and it makes me think about Bardem’s work in Darren Aronofsky‘s mother! (which I still think about to this day). He can play charming, intimidating, and terrifying, all in the same scene. However, in Goya’s Ghosts, he’s all of these things, but also a coward, since he eventually flees once the tide turns against him (and it turns quite swiftly, I might add). It’s a fascinating performance, and one of my favorites of Bardem’s, which says a lot since I love pretty much all of his performances.
Natalie Portman’s Story Is Infuriating In How Wronged She Is
Natalie Portman is a badass. I thought so ever since I first saw her in Leon: The Professional, and she continued to be badass in movies like the Star Wars prequels, and in Thor: Love and Thunder. But, do you want to know my favorite performances of Portman’s? It’s the ones where she’s super vulnerable.
I’m talking about movies like Closer, Black Swan, and Jackie. Well, I don’t think I’ve ever watched a movie where Portman is more vulnerable than in Goya’s Ghosts, where she is physically and mentally abused to such an extent that I got viscerally angry while watching this movie.
The reason why it’s so infuriating is because of what I’d consider a form of Stockholm Syndrome, as she falls in love with her abuser. Brother Lorenzo is the one who pursues her, and when she is imprisoned, he at first prays with her, lowering her guard, but then forces himself upon her at a later time, which eventually impregnates her. Later, after being imprisoned for years, she’s driven to insanity, especially after her baby is taken from her.
She’s a wronged woman, and I’d love to say that she eventually has her day, but I can’t say that. You’re just left feeling bad for her until the very end because nothing ever seems to go her way. And, by the conclusion, you’re left feeling empty and upset. Portman does such a phenomenal job of playing the victim in this film, that you feel you need to watch one of her more kickass performances to feel good for her again.
The Setting Is Vivid And Haunting
I’m a big fan of period pieces, especially when it comes to costumes. Not too long ago, I wrote about lthe Tim Burton/Johnny Depp musical, Sweeney Todd, and I spent a whole section talking about how the art directors did such a good job of recreating old-time London. I very much feel the same about this film and how it recreates 18th and 19th-century Spain.
The costumes, for one thing, are exceptional. Since Goya deals mostly with nobility, we see a number of nobles sitting around for paintings, or discussing their days while Goya is taking in the whole scene. We also see the religious side, with all of their garbs and get-ups. The contrast between the regal and the religious is not as stark as it probably should be, which I think is the point – the priests in this era WERE the regal ones.
We also see the grungier side of things, as once Ines gets thrown into prison, she is pretty much at the very bottom of the totem pole, no higher than the prostitutes of that era, which she soon becomes.
All of this really brings the time period alive, and I don’t think the film would work if the scenery didn’t feel so authentic.
Overall, It Is An Overlooked Gem From The Early 2000s
As a cineast, one of my greatest pleasures is introducing people to movies they might not have heard of before. I love that I can talk about a film like Black Narcissus from the ‘40s, and then a movie like Black Sunday from the ‘70s.
Well, it makes sense when people tell me they’ve never heard of movies from the ‘40s or ‘70s, but Goya’s Ghosts seriously wasn’t even that long ago. It came out in 2006. That said, it is from Spain, so it might have slipped underneath your radar.
All the same, if it sounds interesting, I suggest you watch it. It’s often overlooked in Portman, Bardem, and Skargard’s filmographies, so if you happened to miss this early 2000’s hidden gem, check it out.
Have you ever watched Goya’s Ghosts? I’d love to hear your thoughts.