The terrifying shadow of tyranny and tyranny cannot contain the determination to care for humanity

Nolan 2022-04-19 09:02:59

Foreman's "The Spirit of Goya" describes a cruel world. A beautiful and innocent girl was hanged naked by the power just because she didn't like the taste of pork. After 15 years she was released from prison, unrecognizable and sluggish. In this way, the power tore a beautiful girl to shreds and presented it alive in front of our eyes. This cruelty is even more shocking in One Flew Over the Cuckoo's Nest. People and things are different, but the essence is similar. They all use absurd reasons to kill people for no reason. They all point to tyranny and tyranny.
Foreman experienced three worlds in his life. His parents died in a Nazi concentration camp, he fled from the Czech Republic to the sound of tanks, and finally came to Hollywood to film his "One Flew Over the Cuckoo's Nest." From "One Flew Over the Cuckoo's Nest" to "The Spirit of Goya", it is the projection of his life's terrifying memories. From the Spanish Inquisition in the Middle Ages, to the Jewish Holocaust launched by capitalist Germany, and then to the Czech Republic under the invasion of the socialist Soviet Union, the forms are different. Religion, race, orism.
But tyranny itself needs to be sacrificed with blood, and neither the victims off the stage nor the arrogant ones on the stage are spared. Lorenzo once suppressed heresies as a priest, turned into a revolutionary to pronounce on religion, and was finally executed by religion in the name of betrayal. It's still a bloody story, it's still a life-and-death cycle. Just like Bei Dao's poem: In the name of the sun, the dark and public plunder, on the ancient murals, people are silently immortalized and silently died.
The Chief in One Flew Over the Cuckoo's Nest eventually escapes, leaving a glimmer of hope. Goya could only follow the crazy Elis from a distance, calling her name all the time.
Forman, 75, still has no answer for the future. In fact, how could he possibly have an answer? Forman is to the Czech Republic what Goya is to Spain. He can't bear to witness evil, but he is powerless to save, even a weak girl. In the face of the great social upheaval, the fate of the individual appears so powerless. The 20th century was a century of political terror, and Foreman displayed a painful sobriety under that terror. Unrecognizable Elis, provides a living image of the victimized. However, the terrifying shadow of this tyranny and tyranny cannot contain the determination to care for humanity. So Foreman has been making movies. Through his films, we are also reflecting on the sober vigilance of tyranny, whatever its name. Without the awakening of humanity, without the guarantee of freedom, any society will become a lunatic asylum.

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Extended Reading

Goya's Ghosts quotes

  • Inés: [model pointing at defaced portrait] Why doesn't that painting have a face?

    Goya: Because he is a ghost.

    Inés: No, he is not.

    Goya: Have you ever seen a ghost?

    Inés: No. But I have seen a witch.

    Goya: Oh, did you?

    Inés: Yes, but she had a face.

    Goya: So what did she look like?

    Inés: She was... all bent and creepy, and she...

    [whispers:]

    Inés: stank.

    [makes disparaging sound]

    Goya: That's interesting, because the witch that I know, she's... she's young, very lovely, and she smells of jasmine.

    Inés: [smiles] She does?

    Goya: She does. And I'm working on her portrait... right now.

    Inés: [smiles as it dawns on her what he means] I'm no witch!

    Goya: [chuckles] How do you know?

  • Tomás Bilbatúa: [worried father, to his young daughter] You have received a summons from the Holy Office.

    [she sits down]

    Tomás Bilbatúa: Do you have any idea what it might be about?

    Inés: No...

    Tomás Bilbatúa: Where did you go with your brothers last night?

    Inés: The tavern.

    [shakes her head]

    Tomás Bilbatúa: Think. Did you say something sacrilegious?

    Inés: [shakes her head] No.

    Tomás Bilbatúa: [to his two sons] Was there an incident or something they could hold against her?

    Álvaro Bilbatúa: She kissed the feet of a dwarf.

    [Inés sticks her tongue out at him]

    Tomás Bilbatúa: [to his daughter] You did?

    Álvaro Bilbatúa: She did.

    [his mother scoffs]

    Inés: Everyone did.

    Ángel Bilbatúa: You know... they can summon her just to... testify against someone else.

    María Isabel Bilbatúa: [hoarsely] Someone else?

    Inés: Is there someone you know they might be interested in?

    Inés: I don't know.

    [shakes her head]

    Inés: No.