dmyriounis Reviews

Rome: How Titus Pullo Brought Down the Republic (2005) Season 1, Episode 2

Titus Pullo brings down the Republic but elevates "Rome"!

[10/10 · 15 May 2012]

"Rome" continues its path to television's Hall of Fame with "How Titus Pullo brought down the Republic" which is as different from "The Stolen Eagle" as an episode can be. The episode seems to continue the trend of tackling two story lines, one on the patrician level and one on the plebeian level, but it is fairly evident here that it is really only one storyline, whose threads tie up in the end.

The show's writers once again stick to the broad historical facts, tinkering with the circumstances around the major historical events and figures. The political storyline picks up even more steam as Caesar and Pompey pit wits with Mark Antony as their unwitting pawn. David Bamber once again shined as a Cicero eager to protect his own skin and make sure that the balance of power remains unchanged.

But the tour-de-force performance of the episode definitely was Ray Stevenson's as the self-destructive, sex-crazed gambler Titus Pullo. His storyline is a comment on a soldier's life, a life that is full of short excitement, danger and victory but can turn easily boring and void of meaning when war is over and there's no home behind to wait him. This was clearly put to comparison with the life awaiting Vorenus and the set of challenges that entails, as well as the bitter betrayal Vorenus is attacked with. The show also introduced the lovely Indira Varma as Vorenus's outspoken wife, Niobe, as well as his entire household, an environment that is sure to prove taxing to the psyche of the loyal, rigid centurion.

Michael Apted lends his steady hand to the episode and provides for some shocking violence scenes which are immensely energized and suspenseful.

Rome: The Stolen Eagle (2005) Season 1, Episode 1

"The Stolen Eagle" is a fine start to an excellent series!

[10/10 · 14 May 2012]

"Rome" starts its short, remarkable run with "The Stolen Eagle", with every trademark of the average historical drama: hard sex, frequent violence, British accents, conspiracies being hatched in dimly lit chambers, a narration even! But "Rome" is anything but: yes, the setting is there, exquisite production design is there but writing is the real star of the show. Instead of taking the well-known story and letting it unfold in its perfect high-budget package, the writers put a spin on many stories, presenting them in different circumstances, from different points-of-view, reinforced by constant action and with a sensibility that projects the era's morals rather than our own, thus making the series oddly and refreshingly modern! For starters, "The Stolen Eagle" actually has a plot rather than just introducing us to the show's characters in a simple chapter of the story around them, as is the case with most historical shows. This particular episode centers on Caesar's attempt to entice Pompey to war without being seen to, a plot that is unavoidably interwoven with the fate of the Republic and a dozen other characters, both patricians and plebes.

We are very early acquainted with most roles in "Rome" and by first glance, they feel somewhat recognizable: Caesar and Pompey each have scenes of megalomania and emotion and both differ sufficiently while at the same time sharing many similarities, we get only a glimpse of a very arrogant, extravagant, vulgar Mark Antony, we have the compulsory manipulative, lustful Roman widow-schemer in Atia and the relatable duo of soldiers in Pullo and Vorenus. Over the course of the series all of these roles will expand and develop in shocking and magnificent ways but even from "The Stolen Eagle" it is apparent the show's lucky to have such a cast: Ciaran Hinds plays a very original Caesar, always alert but calm, Ray Stevenson and Kevin McKidd ground two extremely well-matched characters, Kenneth Cranham is excellent as the rather old-school, seemingly benevolent Pompey who seems to linger on military triumphs of the past and Polly Walker is a force of nature as the fierce social climber Atia. Max Pirkis, Kerry Condon, Lindsay Duncan and Tobias Menzies put in some cameos but their roles will be among those which flower substantially. My favorite moment from the episode though has to come from David Bamber's serpentine Cicero: he silences the Senate so that Pompey can speak, only to usurp his right and make his point instead! Direction by Michael Apted is stable and assured, dynamic and energetic especially in the aptly lit battle scenes. Production design and set dressing are especially evident in the enormity of the Roman camp and the Forum and my favorite shot of the episode has to be of the scorched field that once played host to the Roman military establishment!

The Borgias (2011–2013)

The Borgias are Gorgeous!

[9/10 · 2 April 2011]

"The Borgias" is a testament to what collaborative work under an able organizational mind can achieve: the wonderfully idiosyncratic, Academy Award winner Neil Jordan creates, writes and directs the first two episodes of "The Borgias" and his signature in on every second of this amazingly film-like pilot who boasts a breathtaking performance from none other than Jeremy "Academy-and-Emmy-and-Golden-Globe-Award-Winning-Superstar" Irons, who headlines a vastly talented cast.

"The Borgias" begin on the deathbed of Pope Innocent VIII who's about to be succeeded by one of the most questionable personalities in papal history, the Spaniard outcast by traditional noble Roman families, Rodrigo Borgia (Irons). As Rodrigo's reign begins, his whole family, comprised of three sons, a daughter and an aging mistress is propelled to a position of power, which will lead to deeds that still scandalize the Vatican.

"The Borgias" is exquisitely crafted, with atmospheric lighting, haunting music, lush set and costume design (each of those undoubtedly worthy of an Academy Award nomination, if they were on a feature movie) and superbly executed scenes by mastermind Neil Jordan. "The Borgias" writing and editing are to be thanked for the pilot's brisk pacing (Rodrigo's Pope by the first 20 minutes and by 50 minutes there's already a poisoned corpse in his wake), as well as the humour-injected story and dialogue (maitre Jordan does take into account that people possessed both wit and the ability to be amused by certain situations, straying from the assumption that characters in period pieces need to be dead-serious, as is the case with almost every other period piece).

Jeremy Irons spearheads the cast and his performance is indelible and a reason to watch all on its own. He plays Rodrigo as the smartest and coolest man in the room, knowing his own advantages and his opponent's weaknesses so good as to not panic when they attack him and treat them with sardonic disdain and sarcastic mockery. He has a comedic vein and timing, which he frequently taps into when the situation calls for it and can also prove fiery, villainous and downright terrifying all at the same time. His Pope Alexander VI (named after the great conqueror) is not however a man without depth: he hesitates to murder, especially his fellow clergymen, and is daunted by the task to be Christ's Vicar, an epiphany which spurs him to commit brilliant and atrocious acts alike.

The rest of the cast is also pure gold: As the Pope's children, Francois Arnaud (as Cesare, named after the great Roman dictator) exceeds expectations when burdened with most screen time than his siblings, Holliday Grainger and David Oakes, who nevertheless inhabit their roles ably. Joanne Whalley is the standout in her short scenes as the mother of the Borgia progeny, bringing to the table a mostly sober, restrained performance only to surprise you with her intensity in the more dramatic sequences. As Rodrigo's new-found mistress, Lotte Verbeek presents a character sometimes vulnerable, sometimes strangely alert and resourceful, always intriguing and making you wonder what's really her agenda. Colm Feore appears deliciously bad-ass and self-righteous as Rodrigo's nemesis, cardinal Giulliano Della Rovere, while the revered veteran, Sir Derek Jacobi, takes a small and relatively thankless role and turns him into something his own. Peter Sullivan and Simon McBurney shine in their brief scenes, while Bosco Hogan and Vernon Dobtcheff lend gravitas to their cameos. The fantastic Sean Harris manages to render a calculating and cold-blooded killer into someone with a sympathetic dimension and depth.

The plot is not new to history addicts, who are going to be the most hard to surprise, but presents nevertheless enough twists and tricks to satisfy and excite. All in all excellent, don't miss "The Borgias".

Hannibal (2001)

A totally different beast from the "Silence of the Lambs".

[10/10 · 21 November 2010]

"Hannibal" takes everything that worked perfectly on "Silence of the Lambs" and tosses them overboard. And the film still works. Gone is the claustrophobic look of "Silence" that created tangible tension. Instead, in "Hannibal" Dr Lecter (Anthony Hopkins) is free to wreak havoc and spell doom for the people of Florence. The change of scenery is welcome and extends the movie's scope as well as working as an allegory of how far-reaching evil can be and how quickly it can spread.

Also gone is the serial killer plot mechanism that drove "Silence" so successfully providing the film with focus. Well, "Hannibal" doesn't need that, because by now we've met the characters, we know their way of thinking, we've witnessed their malice and their heroism. Their interactions are no longer in a professional context but rather a personal one. There are two story lines: one concerning the exploits of a free Hannibal Lecter living across the ocean under the alias of Dr Fell (or is it Dr Hell?) and another following the attempts of a Lecter former-patient-turned-victim to arrest him and bring him to justice (or some man-eating boars). The two separate story lines soon merge and all hell breaks loose.

Finally, gone is Jodie Foster along with her paternal figure Jack Crawford (Scott Glenn). In her shoes steps the able Julianne Moore and she doesn't disappoint. Her Clarice Starling is entirely different from Foster, more battle-scarred and urgent as the role requires (after all 10 years in the F.B.I. can turn you into something like that). Furthermore, gone seems to be morality. The austere but loving authority figure of Crawford is replaced with the sleazy, backstabbing misogynist Paul Krendler (Ray Liotta). As for the villain of the piece, Lecter certainly isn't he. And that's because his surviving victim, filthy wealthy child molester, faceless Mason Verger (Gary Oldman) fulfills the role remarkably. Verger may be a victim but he is not victimized. He is a heartless, vindictive, manipulative sadist, living only to torment, his only redeeming quality being his dark sense of humor. As for Lecter's nemesis in Florence (or is it vice versa?), Inspector Pazzi (Giancarlo Giannini) only cares for Verger's bounty on Hannibal's head, obstructing American justice by scheming to deliver Lecter to the deranged billionaire.

The performances are excellent throughout, with Hopkins towering over everybody like a colossus. "Hannibal" puts him dead center, unlike the periphery of "Silence" and proves that Lecter is a superhuman, an all-devouring Leviathan, a metaphorical pinnacle of uncontrollable evil. By contrast, Verger's choice of evil seems to be conscientious. Gary Oldman, Julianne Moore, Giancarlo Giannini and Ray Liotta all shine, even when their roles are somewhat one-note.

All in all, Ridley Scott's "Hannibal" is an atmospheric and tasteful grand guignol, with its delicious over-the-top tone working as a study in the nature of evil. A worthy successor to the "Silence of the Lambs".