"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".
"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".