96 min
4.4
1922
DE
Rodrigo Borgia, Pope Alexander VI, has three adult children: Juan, who is virtuous and has a sweetheart who is a woman of the people, Lucrezia, who is virtuous and wants to marry Alfonso, and Cesare, who is wicked and lusts after Lucrezia, Juan's girlfriend, and probably others. Cesare has vowed to kill any suitor for Lucrezia's love, and he has three thugs to carry out his wishes. Bodies fall into the Tiber, into the Colosseum (with lions prowling), and onto the Vatican floors.
Overview
Reviews
CinemaSerf wrote:It's quite interesting that the relationships crucial to the telling of this tale are not as history defines them. Alexander VI (Rodrigo Borgia) is described as the uncle to brothers Cesare and Juan, who's cousin is Lucrezia and he is not her father either. Perhaps a nod to the supposed celibacy of the papacy, or just being polite? In any case, it matters little to the plot which is essentially more about Cesare (Conrad Veidt) than his eponymous sister (Liane Haid). Even at the age of just 29, Veidt manages to present us with a suitably sleezy, devious and manipulative character whose views on women offer them little better than the status of a chattel - high or low born; except - that is - for his sister with whom he has an almost incestuous infatuation. When his younger brother "Juan" (Lothar Müthel) tries to bring his brother's despicable behaviour to their father's attention, that diversion is distracted by Cesare with some new information on the whereabouts of the radical preacher Savaronola (acquired through a fun scene with a fake poisoning). Meantime, his three henchmen led by the brutally efficient Micheletto (Paul Wegener) dispose of the pesky brother - and of any of her suitors that come their way - despite her objections, and her absconding to a convent. It's the dictionary definition of internecine, with sibling rivalries, betrayals and a character (Cesare) whom Machiavelli is supposed to have described as the "New prince" - and I don't think he was being particularly complimentary. Richard Oswald gets great value from this cast - Albert Basserman is on good form as their holy father too - and from the collection of seriously rich storylines. The concluding battle scenes, though not historically accurate from what I remember - add a suitably appropriate, almost virtuous, conclusion to this classic political and romantic intrigue - the castle could have been designed by Salvador Dali! It's great, this - well worth a watch.
