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Lushly photographed and grandly conceived, Carlos Saura s Goya in Bordeaux never comes alive. It is an homage to the great Spanish painter, but we must come to the film already fascinated by Francisco de Goya; if we do not, the film will not convince us. It is too much a study and an exercise, not enough a living thing.
The film opens with an extraordinary image: a cow s carcass, dragging itself to a scaffold and then hoisted up so that we can regard animal flesh and meditate that thus are we all. Then the details of muscle and fat begin to run like paint, until they reveal the ruined face of an old man. This is Goya on his deathbed.
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