Lucrèce Borgia
1935 Drama / Historical
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Summary
At the end of the 15th Century, Rome is held in the iron grip of Cesare
Borgia, the eldest son of Pope Alexandre VI. Taking the advice of
Machiavelli, Cesare sets out to unify Italy through various alliances,
which can only increase his power. To that end, he intends that
his sister Lucrezia will marry Alphonse of Aragon - just as soon as he
has disposed of her first husband, the Count of Pesaro. Later,
when Cesare realises that the Duke of Aragon has outlived his
usefulness, he organises another assassination, releasing Lucrezia for
another advantageous marriage...
Review
Arguably the most famous - some would say infamous - woman who lived at
the time of the Renaissance, Lucrezia Borgia remains one of the most
fascinating and written about figures in Italian history.
Surprisingly little is known about her, although it is well documented
that she played a part in her brother Cesare’s grand political ambition
to unify and control most of Italy in the 15th Century. In this
1935 film, director Abel Gance portrays Lucrezia Borgia as a tragic
heroine who shared some of her brother’s legendary promiscuity but who
ended up being used as a political tool, utterly incapable of opposing
Cesare’s schemes. As with virtually all of Abel Gance’s historical dramas, the film is overly ambitious and attempts to tell far too much in too short a space. The budgetary restrictions are all too noticeable, so that the impressive panoramic action sequences of Gance’s other historical epics - most famously his 1925 masterpiece Napoléon - are largely absent from this film. Despite this, the film is impressively shot and chillingly atmospheric, conveying something of the demonic power lust and brutality that defined Cesare Borgia’s period of power. Indeed, Gabriel Gabrio’s portrayal of Cesare has an atavistic Neanderthal quality, suggesting a man who is driven by the basest of animal instincts, in contrast to the intellectual cunning of his chief adviser, Niccolò Machiavelli. (There's a certain amount of poetic licence here. Whilst the ruthlessness and brutality of Cesare Borgia are not in dispute, Machiavelli was greatly impressed by his skill as a leader and strategist, and Cesare's distinctive image, reflected in paintings of Christ of this era, suggests a man of intelligence and refinement, not a power-mad orang-utan.) At the time of its release, the film won widespread notoriety for its raunchy orgy scenes in which female breasts were fully exposed (something of a novelty at the time, especially in cinema) - this may possibly have contributed to the film's commercial success. It is interesting to compare this film with Christian-Jaque’s 1953 version, Lucrèce Borgia, which provides a more romanticised and condensed version of historical events. The character development is much better in this later film than in Gance’s version, although it is somewhat less historically accurate. The main weakness of Gance’s film is that its director attempts to cover too much ground, at the expense of character and narrative coherence, with the result that it feels dry and plodding, although it does excel in other areas, notably the set design and camerawork. © James Travers 2008 Write a review for this film... |
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