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GOYA IN BORDEAUX

2 1/2

Rated R

Spanish language with subtitles

Website: www.sonyclassics.com

"Goya in Bordeaux" is a beautifully photographed film by Vittorio Storaro ("Tango" and "Bulworth.") In fact, the screen becomes a palette with light and shadow used ingeniously. Director/writer Carlos Saura, however, falters in allowing such a slow pace in this study of the famous Spanish painter Goya. Goya as a young man is Jose Cornado ("El Coyote") and Goya as an old man is Francisco Rabal ("Pequenos Milagros.") The famed Duchess of Alba, the love of Goya’s life is portrayed by Maribel Verdu ("La Capital del Mundo.")

The story of Francisco de Goya (1746-1828) is told in flashbacks as the elderly painter talks to his youngest child, Rosario (Daphne Fernandez.) He is one of Spain’s most famous artists and has lived a long life through court intrigue. The opening of the film in which the screen is literally drenched in the color red moves the audience into the carcass of a bull that is hung in a slaughterhouse. The camera zeros in on the spine and there is the vague outline of a face—in an instant we know this is Goya. The artist is nearing death and has lived long, though afflicted at an early age with deafness.

Goya knew many women, but his greatest love was the Duchess. His painting of her is a masterpiece and the film compares his art to those of another Spanish master, Velazquez, of the 17th century. The film tells Goya’s story through his paintings which become "real." His famous picture of war and revolution is dramatized through people fleeing from an army. As such, "Goya in Bordeaux" succeeds as a visual entity. However, telling the story of Goya takes so long from one "frame" to another that it is like visiting a museum and you can’t wait to step out into sunlight again.

The acting is average with Francisco Rabal being expressionless as the aging Goya. Jose Cornado fares better as the young Goya, but even he can’t break out of the mold of being in a painting. The women are like butterflies. They flit from scene to scene, never resting for a moment to create an impression, though Maribel Verdu in a black dress, looks remarkably like Goya’s painting of the Duchess.

Be aware of language, violence and sexual scenes.

Copyright 2000 Marie Asner