Ich, Claudius, Kaiser & Gott

In writing his epic novels `I, Claudius' and `Claudius the God', from which this series is adapted, Robert Graves reinvented the genre of historical fiction. And he could hardly have chosen a more fascinating subject than the Julio-Claudian dynasty. Even a tame retelling, based strictly on verified historical fact, would have made an interesting tale. But by embracing the lurid, sensationalistic hyperbole heaped upon the founders of the Roman Empire by later writers (Suetonius and Tacitus in particular), Graves concocted the ultimate in dysfunctional families, weaving a tale of scandal and debauchery capable of shocking even the most jaded of modern audiences. The more eminent classicists, naturally, sneered, as eminent classicists tend to do toward anything that threatens to make the ancient world more accessible to `hoi polloi'. One is forced to admit that, as history, Graves' juicy narrative is bunk. But o ye gods, what enjoyable bunk it is!

The drama gives an insider's view of the Julio-Claudian Dynasty, the first emperors of Rome. Over the course of his long reign, Augustus has managed to bring peace to his nation after nearly a century of off-and-on civil wars. But he remains a man divided, hoping for the eventual return of the old Republican government, but knowing that the best hope for a lasting peace is the continued concentration of power in a single person. Augustus therefore sets himself to the task of grooming a successor, one who shares his dream and will continue laying the foundations for the restoration of the Republic. His wife, however, Livia Drusilla, is determined to thwart his plans, and embarks on a slow, murderous scheme to place her own son (whom she fancies she can control) on the throne. The tale is told through the eyes of Claudius, step-grandson to Augustus, who suffered from the crippling effects of a childhood illness and was thus despised and ignored by much of his own family. Regarded as an idiot and of no threat to anyone, he alone remains standing while the poison flows and the daggers flash. To the surprise of all (none the least himself) this drooling, stuttering, limping old fool turns out not to be such a fool after all, and in one of history's great ironies, wins the prize everyone but he is after: absolute power.

Again, the historical facts alone make this an interesting tale. But it is the tantalizing glimpse into the inner workings of the world's first `First Family' that makes `I, Claudius' so much fun. Bill Clinton's philandering and the endless public spectacle that is the British Royals just seem so incredibly dull and tame compared with the bad behavior of Augustus' clan. Matricide, patricide, fratricide, regicide, suicide, incest, rape, pedophilia.and that's on a slow day. Poisonings, stabbings, betrayals, double-crosses, triple-crosses, madness. And one gentle soul sitting in the corner watching it all. Robert Graves' story brings out the tremendous irony of a nation finally at peace with itself, but ruled by a family embroiled in its very own civil war. It's the sort of sordid tale one finds only in the most disreputable of tabloids, but then rendered in gorgeous prose and delivered by the finest actors. To the uninitiated, it might best be described as a guilty pleasure cleverly masquerading as a stuffy British period drama.

I don't think anyone could have hoped for a more faithful transition from book to film than what the BBC achieved. Working with a 12+ hour running time, screenwriter Jack Pulman was not forced to content himself with a `Cliff's Notes' version of the story. Events progress in a naturally expansive manner, and characters grow and mature (or fail to do so) believably over time. In recreating the novels for the stage (after all, let's face it - this is predominantly a televised stage play) Pulman was constrained only by a modest budget and the limitations of the television studio. Action is confined to indoor sets, and the more spectacular aspects of daily life in ancient Rome (attending the Circus Maximus, for example) are left to the viewer's imagination, hinted at by the sounds of roaring crowds but never actually seen. For those audience members not put off by such, or by the drab color and lighting usually reserved for daytime soap operas, the entire production is a treat from beginning to end.

The acting is superb at every turn. Derek Jacobi lends tremendous dignity to his portrayal of Claudius, whose physical handicaps might have come off as insulting or hammy from a lesser actor. He is utterly believable as the `wise' fool, the only person in the entire family NOT scheming for power, and therefore the only one worthy of it. As Livia, Siân Phillips is a study in controlled, cunning evil. The role is reminiscent of Eleanor of Aquitaine in `The Lion in Winter', except that even Katherine Hepburn's Oscar-wining performance in that film is utterly outdone here (ironically, Siân Phillips also played the role of Queen Eleanor, in the BBC's adaptation of `Ivanhoe'). John Hurt's gleefully decadent turn as Caligula is fascinating to watch. Hurt's eyes, throughout his portrayal, remain chillingly cold and lifeless even as he smiles and laughs - except of course, for his expression of shock upon realizing that his sister Drusilla is, in fact, mortal. The most impressive moment in the entire production, however, came from Brian Blessed (Augustus), whose slow, quiet, passing away remains the most convincing screen death I have ever witnessed.

There are simply not enough superlatives in the English language to express my opinion of the towering triumph that is `I, Claudius'. And seeing the 9.5 user rating here on the IMDB, apparently I'm not alone.

Absolutely glorious series. All the actors in this series are in or have been in American films but they have always been underrated and are some of the best actors alive. There are more dames and knights than you can believe. Derek Jacobi is breathtaking in his performance. Sian Phillips is subtly evil. John Hurt as Caligula shines with madness. The sets are unbelievable considering the small budget they had. The most shocking thing is that everything in one sense or another is true. These people really did die these ways. It will take you completely out of your everyday life and deposit you in the world of the Romans.

What can one say that has not already been said about this true masterwork of television? Well, I, Claudius has been a part of my life since I was very young, when me and my mum used to sit and watch, totally rapt in the labyrinthine shenanighans of this most horrid little story...although, at 12 hours long, the story is hardly tiny, but horrid it most certainly is. Every episode is filled with intrigue, murder, violence, nudity, back-stabbing, plotting, incest, insanity and everything else one usually connects with this barbaric, nasty little page of history. The Roman Empire was probably the most corrupt moment of history and Robert Graves' epic novels, here turned into stunning drama by Jack Pulman's brilliant script, blows every other BBC drama clean out of the water. And as for the acting...Brian Blessed is a tornado as the weak-willed Emperor Augustus, while John Hurt gives one of his finest performances as the insane, decadent Caligula. But the true star of this fabulous course of debauchery is Sian Phillips' scheming, evil bitch of Rome, Livia. In one of the finest scenes in the drama, she confronts Claudius and reveals the treachery which has singlehandedly rid herself of all those who have stood in her way, including her own husband. It is a powerhouse performance, and her departure from the second part of the show is sorely missed, but this is compensated for when Hurt takes centre-stage when his unhinged Caligula (nice boy!) plunges Rome into lower depths of depravity and madness. Derek Jacobi, as the foolish, but wise Claudius gives us just enough of his presence to make us aware he is watching quietly while the murders occur, but his presence pervades the entire piece due to his diction, his amazingly baritone voice and because he narrates, even when his birth has not actually occured yet. All in all, a stunning, marvellous piece of entertainment which will never be beaten. I happen to own the entire series on video, and it gets an airing at least once a year...with each new watch revealing subtleties i missed last time. I implore anyone who lives Ancient Rome, good drama or just likes a long wallow in unrepentant horror and blood to watch this drama. You will not be disappointed. Brilliant!!

One of the best British imports on Masterpiece Theater in the USA, the series was a real bicentennial gift from the United Kingdom.

Over a dozen chapters, the series held the interest throughout, there's not a moment that it flagged. So many wonderful performances by the players. Derek Jacobi got his career role in this series as the club footed stuttering Claudius who survives by just making sure everyone thinks him a fool and not worth bothering about. In the meantime he secretly records his family's inner history.

The really evil one here is Livia played by Sian Phillips. I'm pretty sure that such prime time bitch goddesses as Joan Collins on Dynasty and Jane Wyman in Falcon Crest modeled their characters on Livia because these women were Girl Scouts compared to Livia. Livia was the wife of Augustus Caesar played by Brian Blessed and Phillips also got a career role.

I'd be hard pressed to decide who was the best Caligula ever. John Hurt in this series is up against some pretty stiff competition in Malcolm McDowell in the title role of the film Caligula or Jay Robinson in The Robe and Demetrius And The Gladiators. Insanity gallops in the Caesar family as in The Brewsters and in the case of Caligula it breaks the three minute mile.

George Baker is very good as the pleasure seeking Tiberius whose succession to the throne Sian Phillips is working overtime to achieve. Patrick Stewart with a full head of hair plays the opportunistic Sejanus who reaches for power, taking advantage of the increasing hedonistic tendencies of Tiberius in his later years. Sejanus would have been his career role had he not become Jean-Luc Picard.

Margaret Tyzack who was Queen Anne in The First Churchills gets another fine role as Antonina, mother of Claudius. Her other son Germanicus falls victim to Caesar court politics and her daughter takes up with Sejanus. Her children disappoint her throughout and she like the others fail to see that Claudius is not the fool he appears to be.

Probably Sheila White's Messalina is far closer to the truth than Susan Hayward's worldly woman in Demetrius and the Gladiators. White plays her like the Catherine Howard of her day, like the legendary nymphomaniac wife of Henry VIII who was one of the two who Henry executed. You've got to love that coitus contest between Messalina and the head of the guild of prostitutes. Guess who wins.

Robert Graves lived long enough to see his historical fictionalization come to life and I'm sure he must have approved. Graves did some considerable research into ancient texts for I, Claudius. His interpretation is as valid as any others we'll find of those wild and crazy ancient days of the Caesars.

I Claudius is quite possible the supreme example of television drama. It is limited in budget and studio-bound, yet freed from the shackles of a 90-minute theatre slot it can encompass an entire dynasty of rulers and seventy years.

It is sustained by a succession of brilliant performances. Brian Blessed as Augustus combines pathos with violent outbursts that dominate the stage, Sian Phillips as Livia shows us just how charismatic a murderer can be, and over the whole series hangs the shadow of Derek Jacobi as Claudius, fighting against senility and plotting to the last, under the cover of being "Clau-Clau-Claudius the Idiot".

The series mingles comedy with horror and tragedy, and ends with a profoundly pessimistic note about humanity- understandable, given that the reign of Nero, Claudius' successor arguably proved even more bestial and savage than any of his predecessors. Write no more, Claudius, write no more. We have learned no lessons.