As an outstanding artist of Mozart's generation, Goya experienced the most turbulent period in Spain. After deafness, he burst out with a stronger creative desire and inspiration, leaving many immortal pictures. But just like the predicament faced by many artists, Goya also had to put down his lofty head, paint portraits of people with money and power, go to the court to flatter, and pay more than every item. Goya's life is in conflict and contradiction between the powerful survival pressure and artistic principles and ideals, lingering on the edge of being lost, but still insisting on the truth under the brush. Even with all kinds of helplessness and depression, his paintings are full of silent stubbornness and persistence.
With a historical background and a dramatic career, Goya's life after deafness is particularly valuable and attractive material. However, such a large space for play has been completely ignored by the director. At the same time, the director seems to be more interested in things other than characters. For example, go to great lengths to feature Goya's process of making stencils—please, it's not a stencil literacy documentary! Another example, ending with a piece of Goya's works - halo, is this because the audience is not familiar with his works or is it literate? Even to commemorate Goya, there is no need to hold an exhibition of works in the film... It is not necessary to dig into the inner world of the characters. It is really speechless to waste the camera on these unnecessary details.
While holding grievances for Goya, I have to say that the film's portrayal of Lorenzo is much more successful. As a typical representative of a hypocritical religious vindicator, the film endows Lorenzo with not a simple negative image, but a complex and rich heart of his emotions.
He is a brutal careerist. He tried his best to eradicate infidels, but in fact he created white terror and brought the inhuman "God News" back to light. It is a pity that he encountered the person who made a great change in his life - Inas's father. Ironically, his dignity and the so-called "God will give strength" fallacy collapsed in front of "God News", and was Forced to sign an absurd statement admitting that he is not human. Seeing that there was no hope of persuading the bishop to release Inas, he immediately fled without a trace. Opportunistically, he saw the wind in France, began to believe in human rights, and even married and had children. When he returned to Spain after 15 years, he was the chief executive. He turned his back and put the bishop and others on death row on charges of violating human rights. However, the good times did not last long. Inas, whom he had long forgotten, found him through Goya and said that he had given birth to a child for him. He was shocked and could only send Inas to the lunatic asylum. But what made him sleepless was that Goya found Alicia, his illegitimate daughter who was a prostitute. He not only concealed her background from Alicia and prevented the mother and daughter from recognizing each other, in order to ensure the lofty reputation he finally established. And the prestige is not tarnished, and even all the prostitutes are simply captured and sent to the United States, so as to avoid future troubles.
Lorenzo's radicalism, selfishness and hypocrisy can be seen. However, he is not a man of great evil after all. He still has humanity and conscience, otherwise he could use his power to kill and kill all his church colleagues who wanted him in the past. Sent to the execution platform, it is possible to kill him without breaking the promise to the bishop, and it is possible to kill the mother and daughter of Inas who may hinder his career. Therefore, when Lorenzo was caught for looking back at the injuries of his subordinates, the good side finally showed at the juncture of life and death, although a bit abrupt, it was not unreasonable.
What is even more touching is that in the face of the bishop and others' trial, Lorenzo showed surprisingly calmness and composure, as well as his stubbornness and disdain for the only chance of survival before his execution. , The meaning of swearing to the death is very different from the situation in which they signed an unfounded statement and were threatened. Has he changed? Did Goya's remarks about his lack of faith touch him? Or is it because he knows too well that the filthy Holy See and the sanctimonious priests will never tolerate him, and that repenting and begging in a low voice will only lead to more insults and suffering? His once sinister and vicious eyes were full of ridicule at this moment, and even at that moment, it made people feel pity and intolerance for him, at least compared to some scumbags with no backbone and principles, or greed for life and fear of death, The poor bastard who lives on his own, he is more like a person. At that time, he found that the person who shouted his name loudly among the onlookers turned out to be Inas, whom he spurned and taboo. When he saw Inas holding up a baby to him, his eyes showed a clear expression. It is the gentleness that has never been seen before. When he thinks of his wife and children's carriage moving forward without stopping when he was caught, how can he not be pleased and grateful to this crazy woman in front of him? With such an ending, it was a relief for him.
Although I am noncommittal about the overall feeling of the film, I still can see the director's skill from some clips. For example, the ending mentioned earlier, including the scene of Inas holding the child and holding the hand of Lorenzo's corpse, and the surrounding children singing songs, is meaningful and thought-provoking. For example, in order to save his daughter, Inas's father forced "God News" Lorenzo's plot. Like his frightened wife and children, it was completely beyond my expectations, and then was even more affected by the father's resolute decision and strong The heart of her beloved daughter was moved, and she immediately paid her respects.
In the end, I have to mention the role of Inas. Natalie Portman, who originally thought of the vase, was obviously extremely successful in subverting her image and challenging her acting skills. Fifteen years ago, Inas was young, beautiful, pure and kind. She was regarded by Goya as an angel. Even if she hadn't seen her for more than ten years, she could not forget her. Fifteen years later, she was released because of the abolition of religious institutions in France. It is absolutely shocking to appear again - crooked melons, cracked dates, crooked eyes, crooked mouth, sparse hair, thin bones, ragged clothes, dirty like Jigong's body. Just rubbing against him is a mass of mud, just like a born beggar, as horrible as a walking corpse, Completely no longer the high-spirited, charming figure and noble temperament of the past!
The exquisite skills of the makeup artist are amazing, and we have also witnessed a breakthrough in Natalie Portman's acting skills. Inas, who was unable to open her eyes when she saw the sun just now, slid into her clothes and scratched it while limping. a street in the street walking Yi Nasi, another grab the crazy things (that baby) of Yi Nasi, excitement of holding a baby bent on bringing Lorenzo to see Yi Nasi ...
Na Tully Portman seized the rare opportunity to destroy the image, and played the pitiful and pitiful girl Inas to the bottom of the tree, which is impressive. In contrast, it is too vulgar and unbearable to use the fully nudity lens that has actually been covered and diluted as a selling point, and it is simply a blasphemy and trampling on art. Just like talking about the Golden Armor, the audiences talk about the "steamed buns" in addition to the chrysanthemums in the city. If someone mentions that the most impressive thing about "The Spirit of Goya" is the full nudity scene, it will definitely be the most memorable scene in the movie. where it fails. Now that I have finished watching the film, I can honestly say that this kind of thinking can be seen as an unreasonable attack on the director and a deliberate insult to the film.
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