Los amores de Messalina

To begin with, years ago I had watched a 1951 film (with Luis Bunuel alumni Maria Felix and Georges Marchal, the latter also a Cottafavi regular) about the same notorious historical figure – for the record, she would be played in the interim by Susan Hayward in DEMETRIUS AND THE GLADIATORS (1954). I would love to be able to re-acquaint myself with that earlier version (incidentally, I still recall the protagonist's hysterical come-uppance) also for the sake of comparison with this one. By the way, the film under review makes for an indirect addition to my stalled Josef von Sternberg retrospective, given that it deals with the era of the Roman Emperor Claudius (though he is a rather ineffectual presence here). While I did manage to acquire a much-superior copy to the one I already owned in time for the Epic Easter marathon I have embarked upon all through this month, my viewing of it still did not occur under the most congenial of circumstances – as the English-dubbing left a lot to be desired!

The short-lived Belinda Lee is ideally-cast in the title role: Cecil B. De Mille had described Cleopatra – actually dealt with by Cottafavi in his subsequent effort LEGIONS OF THE NILE, released the same year and which I have just checked out – as "the wickedest woman of all time", but this epithet would serve this famous harlot ruler even better! Ordained to be a Vestal Virgin, she still manages to seduce her way to the throne (albeit ridding herself of any conquest/associate once his purpose is fulfilled) and even causes discord among childhood pals! The male lead, then, is Spiros Focas – why the role was not given to an Italian actor is a mystery, but he acquits himself quite well under the circumstances. The hero falls for Messalina before her ascent to power, which happens while the young officer is off to war; later, he even commits atrocities in her name – before being brought back to his senses as much by the death of a Senator friend as the love of a Christian girl played by a young Evelyn Stewart (still billed under her Italian birthname).

The rest of the cast includes: Giulio Donnini, a minor genre fixture as virtually the only man not to fall under Messalina's spell and, in fact, is the one to deal her the deadly blow; Arturo Dominici, who bafflingly exchanges loyalties along the way and even becomes Emperor prematurely (after an attempt on Claudius' life is thwarted but, ingeniously, he still sends news to Rome of its success!); and a pre-stardom Giuliano Gemma in a brief role early on as a would-be assassin, subsequently lover/victim, of Messalina's – his head being disdainfully presented on a plate to her befuddled enemies (with this in mind and in view of the vibrant colors on display here, one regrets the fact that Cottafavi steered clear of the horror genre throughout his career)!

At first sigh, it is only another film from same period in nice sandals-and-swords style. and to choose Messalina as lead characters is the most simple solution for create a fake fresco of ancient Rome, a puzzle of orgy, crime, love, politic, mixing a beautiful actress with hadsome men and few dramatic scenes. because rumours about the wife of Claudius are so, so many. but , ignoring that details, three virtues has this film : the reasonable job of Belinda Lee, the decent effort of Spiros Focas to propose an idealistic character and, sure, Giulliano Gemma as Marcellus, more for aparition than the manner to play a small character. a portrait of Messalina in the spirit of a period cinema. nothing new, nothing bad. only just not surprising.

Messalina was the Roman noblewoman who inveigled ageing emperor Claudio into marriage. Once ensconced on the throne, Messalina launched a reign of terror that shook the empire to its very foundations ...

The conspiracies and intrigues and how the praetorian guards massacre citizens at the behest of aristocracy are well portrayed in this well-mounted tale that features Brenda Lee as Messilima who romances a soldier, Maximus, and while he's away, she marries Emperor Claudius, and goes power mad and a few people die at her hands, one of them loses his head (Gulliano Gemma in his first starring role), and the people get their home ransacked- Messilima's power-hungry streak and cruel ambition is well depicted as is the love affair between Messalina and Maximus. Dramatic, not encumbered with unnecessary talking, and engaging with the turmoil and politics well done. Brenda Lee is excellent in her role as is the rest of the cast.

The screenplay itself is a Messalina mess:combining politics ,love,ambitions,crimes,persecutions of Christians (I thought they began during Nero's reign?),it may entertain you if you do not take it seriously.There's nothing "cultural" here as in Cottafavi's notorious "legioni di Cleopatra" (1960) where Linda Cristal(The queen of Egypt!) went to dance in Alexandria's taverns .

Here,in a cheap junk antiquity, Belinda Lee is making it rough all over .But only the last scenes (the orgy turning into a slaughter)have something to do with cinema.A young Giuliano Gemma appears briefly as a killer who falls for the empress:he will lose his head! (in the literal and figurative senses )

In this opulent spectacle the corruption that was at the heart of the Roman Empire is embodied by the infamous empress Messalina, portrayed by Belinda Lee with surprising range from a vulnerable Vestal to the power mad, sexually insatiable, callous mudereress she supposedly became. If anything, the film underplays her infamy, though she is certainly evil enough.

In a memorable scene, a young would-be assassin (Giuliano Gemma) is lured into her bed only to be beheaded before fully awake the following morning. Messalina triumphantly parades into the palace quarters of the desperate plotters bearing the gift of his severed head. Spiros Focas is fine as the naif and devoted centurion who fell in love with her before the rot set in. As mounting evidence of her treachery and licentiousness builds, the enamored lover struggles to break free of her amorous toils and to eventually oppose her reign. Although present and participating in her last violent moments, he at last admits the necessity of her death.