Lucrèce Borgia (1953)
Directed by Christian-Jaque

Film Review

This sumptuous Franco-Italian blockbuster production exemplifies historical film dramas of the 1950s - beautifully shot in Technicolor and showing a meticulous attention to detail in its lavish costume and set design, to say nothing of the exciting, well-choreographed action sequences.  Whilst the film may be legitimately criticised for its overly sympathetic portrayal of Lucrezia Borgia (you'd almost think she was heading for a sainthood), it would not be fair to fault its production values. The film looks stunning.

Since the extent of the complicity of Lucrezia Borgia in her brother's Machiavellian schemes is a matter of considerable conjecture, director Christian-Jaque is perhaps justified in presenting her as an innocent party, a pawn in Cesare Borgia's nasty political games.  Even so, it's a little difficult to swallow Martine Carol's slightly over-sentimental portrayal of Lucrezia, face stained with tears whenever brother Cesare does the dirty on her.  What is missing is some motivation for Lucrezia's acquiescence to her brother's plans - is it sibling loyalty or is she genuinely helpless?

Attractive as the film is, it does have a slightly irksome theatrical artificiality (it doesn't help that Pedro Armendariz's Cesare Borgia has all the subtlety of a stock pantomime villain).  That said, the film does pack a few punches. Some of the darker sequences (such as the gruesome man hunt) do have a shocking, almost visceral, realism, making the film unsuitable for youngsters.  Likewise, the ending, whilst a tad contrived, has a genuine poignancy about it.

Film Synopsis

Towards the end of the 15th century, Cesare Borgia is one of the most powerful men in Renaissance Italy.  He owes his present position of influence to a combination of good fortune and ruthlessness, to say nothing of his seemingly unbounded ambition.  At his palace in Rome he is looking forward to his sister Lucrezia's forthcoming marriage to Alfonso, the Duke of Aragon, whose family governs the province of Naples.  Unfortunately, Lucrezia isn't so enthusiastic about this forced alliance and, after hearing a prophecy that she is destined soon to meet the great love of her life, she puts on a mask and joins a lively street carnival.

Sure enough, the young woman is whisked off her feet by a seductive stranger, only to discover, the following day, that he is in fact the man she is about to marry - the Duke of Aragon.  The latter soon discovers Cesare's cruelty and lust for power and becomes sickened by his brother-in-law's apparent lack of conscience.  Cesare Borgia likes nothing better than to go hunting - with his sister's former lovers being the game.  The Duke realises, too late, that his wife is nothing but a tool for her brother's self-serving political machinations.  In less than two years, the Duke of Aragon ceases to be of any further use to Cesare, who has by now entered into a more profitable alliance with King Louis XII of France.

If only the Duke were dead, Lucrezia would be free to marry into the Este family, who govern the province of Ferrara.  So, still keen to extend his powerbase, the calculating Cesare makes arrangements for his superfluous brother-in-law to meet with an early death.  Badly wounded by his enemy's swordsmen, Alfonso seeks sanctuary in his wife's private apartments.  Lucrezia is so shocked by her brother's latest atrocity that she is driven to kill herself.  Cesare arrives just in time to prevent her from doing so.  Now that the Duke of Aragon has been despatched, Lucrezia Borgia is once again in a position where she can service her brother's insatiable ambition...