The Borgias

I've seen any number of critiques on this series...all of them negative. I'm sorry I can't agree. Having studied this period of history, I'm afraid you will have to accept the fact that the BBC left out some of the most shocking aspects, and indeed this is what life was like in the Italian Renaissance. It is difficult, if not impossible, for modern morals to be fitted to history. "The past is a different country", never could it be truer in this sense. There isn't space enough, here, to fully explain the complexities of 15th/16th century politics and morality. "The Borgias" did indeed reflect reality, except, as I have said, this is a bit sanitised and not as opulent as it should have been. The costuming is very good (again, if you have studied the period there are minute errors, but they are very minor), and the portrayals of the characters are excellent. Once again, I say, please study the history first, then view the series.

A few days ago, I picked up Sarah Bradford's biography of Lucrezia Borgia from my sister's library to read on a plane trip. It rekindled my interest in viewing again a dusty, neglected tape, of the 1981 10-part BBC mini series, The Borgias, that A&E aired in 1985, which another family member taped for me, knowing that I love history and BBC drama. When I first viewed the series, in 1985, I thought it had good acting and production value but was a bit cheesy in its portrayal of some of the more seedy aspects of the reputed Borgia family skeletons. I did enjoy the way the series brought to life Renaissance Italy and the prominent Italian families and loved the commentaries by Renaissance historians and museum curators added by A&E.

Twenty-two years later (and as many years more seasoned) when I pulled out the tapes to view again of the series I had almost taped over several times, I was overjoyed that I had the miniseries intact. What a delight! The portrayal of the seedy aspects of the Borgias no longer seemed "cheesy," but a plausibly accurate interpretation of an audacious family's blatant disregard for conventions, societal limitations, and taboos, demonstrated in practically every aspect of their ambitious, larger-than-life actions. Having greater exposure to the entitlement attitudes of privileged, self-promoting families in politics and history, I now find the salacious aspects of the Borgias' story not only likely, but an intriguing part of the psychological whole. There are documented parallels in the families of the Egyptian rulers, the Roman Caesars and Virginia Woolfe, among others. Aside from my reevaluation of this previously disturbing aspect of the storyline, I found the portrayal of the political intrigues at the Vatican and among the prominent Italian families to be far more interesting subsequent to having traveled to some of the locales depicted. I agree with previous reviewers who have stated that the better you know your history, the more you appreciate this series.

With a few forgivable exceptions, the casting is perfect. "Rodrigo Borgia/Alexander VI" looks just like his portraits. "Cesare Borgia" looks like he stepped right out of his. "Lucrezia," "Giulia Farnese," and Alfonso D'Este also are convincingly portrayed. Vanozza Catanei and Sancia d'Aragon, strangely, are miscast as to appearance, a minor quibble as both are strong actresses.

I came online today to see if I could purchase a DVD of The Borgias as a Christmas present to the sister whose book I borrowed. While I was disappointed to find that the series is not available for purchase, I am delighted that my 1985 tape is in good shape. What a shame this series is not rebroadcast/available for purchase!

I hugely enjoyed this series when it was first shown in 1981, even watching the contemporary Sunday repeats which were buried away at 10.30pm on BBC2. The portrayals of all the leading figures were outstanding, especially Oliver Cotton as Cesare. He was mesmerising as the charismatic 'Duke Valentino' and it is a crying shame that his performance was lost amongst the grossly undeserved tirade of abuse the series attracted. The settings were authentic and the costuming was also superb. The series was accurate in it's depiction of a violent and bloody era and did not fall into the trap of making the Borgias raving, sex crazed psychopaths and tyrants. In truth they were responsible governors and were respected (if not loved) by their subjects. After he was deposed Cesare even had to go to a city in person to persuade the people to surrender to his enemies or they would be killed. They reluctantly did so but praised him for putting their welfare before his pride. Lucrezia was also well portrayed, she was loved by the citizens of Ferrara (home of her third husband) for her charitable works and they requested for her to be canonised but the Pope (unsurprisingly given her 'reputation') declined. I don't think any other person in history has been so unfairly maligned as Lucrezia (with the possible exception of General Custer). I have longed to see this series again and think 26 years is too long to have to wait ... the series now belongs to that era of classic video-taped programmes that we no longer see. The BBC release some excellent lesser known series on DVD so there must be a place for this. They may also make some of their money back!!!

I admit I saw this over 25 years ago but recall it wasn't very good. I do remember a scene where the Italian actor playing the Pope Alexander VI (Adolfo Celi) shouted he wanted to see 'Nipples' - but it could well have been 'Naples'. I think it was the former as there was an orgy going on at the time. This series tried to be like 'I Claudius, but lacked focus (and good writing !) and wasn't repeated . In fact the BBC who made this also made the 'The Cleopatras' - which I think was even worse !! It will be interesting to see if there is a change with the Scarlett Johansson/Colin Farrell version which is to go into production soon.

The BBC took quite a few risks with this ten part dramatisation of the lives of the infamous Borgia family that dominated Vatican politics in the late 15th century. Aside from established "Bond" villain Adolfo Celi as patriarch Alexander VI, they avoided using a cast of familiar-faced actors to tell this story and it largely works. It starts with the death of Innocent VIII and takes us through the machinations of the electoral college which serves well to introduces to the other players: sons Cesare (Oliver Cotton), Juan (George Camiller) and Jofre (Louis Selwyn) and daughter Lucrezia (Anne-Louise Lambert) as well as his principal cardinal antagonists for the throne of St Peter - Orsini (Martin Potter) and Della Rovere (Alfred Burke) - all of whom feature prominently as we proceed through a pint-sized guide to European dynastic politics. What Celi delivers right from the outset is a characterful demonstration of a man who is as meticulous as he ruthless - but he is hardly unique on that score amongst a cardinalate that was much more about political power, wealth and nepotism than it had anything to do with Jesus or his father. Unlike many of their earlier grand scale dramas, the one ventured outdoors far more, used real locations and the standard of studio set productions is much enhanced from the days of wobbly walls and dangling booms. The writing is kicked off by the steady hand of John Prebble who introduces us to some of history's most remarkable personalities before Ken Taylor picks up that mantle and takes us through the decline of the family following Alexander's death. Celi is on great form as the manipulative pontiff, but it's Cotton's Cesare that stands out as the ambitious and malevolent henchman who starts out a cleric but is clearly destined for a much more "hands-on" role supporting his father's papacy. There's some casual nudity and a bit of sex, but that all rather underwhelms as it doesn't seem to be a main focus of director Brian Farnham. He, luckily, seems way more intent on delivering a drama that deals with the personalities involved and their frequently toxic and violent manoeuvrings. Nobody knew anything about CGI in 1981, so sure - some of the combat scenes do look a little choreographed, and the photography can be a bit ropily lit at times, but this is still a fine example of the ambitious, and doubtless expensive, dramas the Corporation once embarked upon where emphasis was put fairly and squarely on solid writing and strong acting performances across the board. Most of the history is well enough known, but there's still room for some creative licence (or licentiousness) and I think this still delivers the story of this dog-eat-dog world of hypocrisy and power brokering entertainingly.