Religion In The 18th Century

The eighteenth century was an extremely influential and important time in history for Spain. It was the midst of the Spanish Inquisition and great change was rapidly overtaking the country. Milos Forman’s film GOYA’S GHOSTS, portrayed in the year 1792, beautifully highlights this progressive era. It is seen through the eyes of a great spanish painter named Francisco Goya, played by Stellan Skarsgård, who constantly watches the harsh realities of the Catholic church throughout the entire film. Goya also befriends the two other main characters in the movie, Brother Lorenzo, a passionate, fanatical man, played by Javier Bardem, and Ines, a beautiful, young woman accused of heresy, played by Natalie Portman. Through these three character’s tragic dilemmas, Goya, Lorenzo, and Ines, we see the theme of great power in the Catholic church in the eighteenth century.
Firstly, at the start of the film, we are introduced to Brother Lorenzo, who is part of the Inquisition’s inner circle at that time.
He is in strong support of the Inquisition and convinces the leaders to strictly punish and question anyone accused of heresy. When Portman’s character Ines is wrongly accused of practicing Jewish rituals, simply for the fact that she refused to eat pork because she did not like the taste, she is quickly tortured by the church monarchy. The scene of Ines’ brutal punishment, and her false confession prove how the church officials would go to any length to make an example out of their people. With just a simple, but powerful suggestion, Lorenzo has a young woman locked up for fifteen years, through the dominant say of the
church. In retaliation to Lorenzo’s heinous act, Ines’ father seeks revenge by torturing Brother Lorenzo into falsely admitting that he is an ape. After Lorenzo grudgingly signs the documentation and the church gets wind of it, he flees to France. He knows that he has disgraced his name; therefore, the church will no longer except him. Again, the scene of the burning of the portrait of Lorenzo, painted by Goya, signifies that the church has the final say over all matters. The church officials even go as far as to declare that the people shall not speak his name, for fear of burning in hell. The church is so dominant in the country, that they are even willing to reject their own leaders to prove their point. The churches dominance is once more prevalent in the moment where the churchmen confiscate Goya’s painting of Brother Lorenzo. Even before the burning begins, the church is adamant about ridding the town of any trace of Lorenzo. As the men are on their way out of Goya’s home with the painting, he mentions that he never got paid for his work. Of course, the clergy declines his hint of payment, but there is no sign of retaliation from Goya. His subservient response and meek gestures reiterate the power that the church held. Likewise, he even feared speaking out for Ines, when she was first imprisoned, because of the harsh punishment he was sure would follow. Goya knew the church would show him no mercy; therefore, he let an innocent women waste away in prison. Clearly, it is easy to see how merciless the church was back in the eighteenth century and the power they had over their people. Whether it was Lorenzo’s exile, Ines’ imprisonment, or Goya’s lack of action, they all highlight the church as the dominant authority. GOYA’S GHOSTS is a wonderful presentation of church leadership during the Spanish Inquisition and just how influential the Catholic church was throughout history.