Актеры: Aitana Sбnchez-Gijуn (as Duquesa de Alba), Jorge Perugorrнa (as Francisco Goya), Jordi Mollа (as Godoy), Penйlope Cruz (as Pepita Tudу), Stefania Sandrelli (as Marie Luisa de Parma), Zoe Berriatъa (as Prнncipe Fernando), Olivier Achard (as Grognard), Marнa Alonso (as Condesa de Chinchуn), Carlos Bardem, Josй Cantero (as Jefe de policнa), Alberto Demestres, Emper Ferrer (as Catalina Barajas), Marнa Isasi-Isasmendi (as Mujer procesiуn), Jean-Marie Juan (as Pignatelli), Carlos La Rosa (as Carlos IV), Fermнn Reixach (as Cardenal), Enrique Villйn
Описание: 1802 год, Испания эпохи расцвета. Герцогиня Альба (Айтана Санчес-Хихон) самая эффектная и самая желанная женщина при дворе. Её чары пленили немало мужчин, среди её любовников тщеславный премьер-министр Испании Мануэль Де Годой (Хорди Молья) и художник Франсиско де Гойя (Хорхе Перугоррия), среди её врагов любовницы Годоя - молодая красавица Пепита (Пенелопа Круз) и сама испанская Королева Мария-Луиза Пармская (Стефания Сандрелли). Внезапная смерть герцогини повлекла немало слухов, и началось расследование. Воспользовавшись этой детективной линией, режиссёр Бигас Луна неторопливо рассказывает историю двух картин Гойи - "Обнажённая маха" и "Маха одетая". Своеобразная манера подачи сюжета и визуально богатые кадры - перед нами мазок за мазком вырисовывается картина великого художника.
Рецензии: Bigas Luna is not exactly the easiest of Spanish directors with whom to come to terms. His stories tend to wade neck-deep in sophismic quagmires, aided and abetted by insolently visual splendours, which, however, for the intelligent viewer will not succeed in covering up certain lackings which place this director a long way away from Buсuel, or even Saura if you push me. After having been besieged throughout his `La Camarera del Titanic' which left me neither hot nor cold and wondering where the supposed story went under the overlay of irritating sumptuousness, I ventured into watching `Volavйrunt' more from my personal interest in the famed Spanish artist Francisco Goya, and to see how Aitana Sбnchez-Gijуn and Penйlope Cruz - who are intimate friends - would bear up, rather than any attraction Bigas Luna might have.
The story revolves around Goya's womanising and the mysterious death of the Duchess of Alba at the end of the 18th and beginning of the 19th Centuries, at a time when Madrid was wobbling through a difficult time and setting the scene for the following Prim vs Crown uprising. The title of the film comes from the Duchess of Alba's euphemism for her most private parts, supposedly revealed in the famous painting `La Maja Desnuda' but which in fact is another woman's body - possibly Pepita Tudу (Penйlope Cruz). `Las Majas' were originally called `las gitanas' (gypsy women), but in those days `maja' meant a liberal woman who enjoyed her sexuality and sensuality.
The sets are superb, at least as good as any other period piece films I have ever seen; Franca Squarciapino's costumes are extravagantly magnificent; Asturian courtyards, heraldic-emblazoned palaces and luxury carriages pass by in front of your eyes. But the story is stulted, overwhelmed perhaps by such an immense visual banquet.
Jordi Mollа played an unconvincing Godoy; you should see him in `La Buena Estrella' (qv). And as for our two lovely actresses, I can only opine that Carlos Boyero in his insolent and infinitely unrefined article in `El Mundo' when this film was shown at the San Sebastiбn film festival, was right at least in saying that they are superbly beautiful, but they too need rфles which can show they are good actresses. Amen: in `Volavйrunt' they were not able to show anything - apart from a fair amount of sexuality.
At a grand gala dinner held in the midst of so many conspirations in and out of the royal palace, a fascinating piece of music can be heard: it is the last movement of `El Retrato de Madrid' (Portrait of Madrid) by the Italian composer Luigi Boccherini who for many years was the Spanish Court's official maestro da capela; this piece was composed some years later than the film's story.