The iconic image of Theodora, Empress of Byzantium, looks down from the mosaic in the Basilica di San Vitale in Ravenna. It is hard to believe that this imperious figure had once been an 'actress' for want of a better term, in the sleazy pleasure district known as the Hippodrome. Career opportunities for women at that time were somewhat limited so she simply played the game with the cards she was dealt. Apparently she had an understandably popular 'Leda and the Swan' routine which involved a goose plucking grains of corn from between her thighs whilst she writhed in ecstasy. As this film of Riccardo Freda comes from 1954 we are alas denied such a tantalising spectacle and the dance that the director's wife, former beauty queen Gianna Maria Canale, actually performs is rather anodyne and hardly designed to fill the veins with fire. It seems to do the trick however for the Justinian of George Marchal who is so smitten he makes her his queen.
In the case of Theodora it is difficult to separate truth from legend but what is certain is that she was an extremely strong-willed, determined woman and a capable ruler who is alas portrayed very superficially here. In fact these are all one-dimensional characters and not flesh and blood. The notable exception is the striking and charismatic Irene Papas. She is still serving her time here and is probably best known to cinema goers as the widow in 'Zorba the Greek'. Her portrayal of Theodora's sister is a foretaste of her later depictions of Antigone, Electra and Helen of Troy in which she proved her extraordinary range. The settings are excellent, the Pathe colour glorious and we are treated to a spectacular chariot race. Sadly this is not quite enough. The films poster declares "Never was such passion!" Passion however is the one thing it lacks and although both Canale and Marchal look lovely they are just not compelling enough.
PPerhaps I am expecting too much but Blasetti's 'Fabiola' and Gallone's 'Messalina' prove that even in a 'Peplum', strong characterisation is achievable.
In the case of Theodora it is difficult to separate truth from legend but what is certain is that she was an extremely strong-willed, determined woman and a capable ruler who is alas portrayed very superficially here. In fact these are all one-dimensional characters and not flesh and blood. The notable exception is the striking and charismatic Irene Papas. She is still serving her time here and is probably best known to cinema goers as the widow in 'Zorba the Greek'. Her portrayal of Theodora's sister is a foretaste of her later depictions of Antigone, Electra and Helen of Troy in which she proved her extraordinary range. The settings are excellent, the Pathe colour glorious and we are treated to a spectacular chariot race. Sadly this is not quite enough. The films poster declares "Never was such passion!" Passion however is the one thing it lacks and although both Canale and Marchal look lovely they are just not compelling enough.
PPerhaps I am expecting too much but Blasetti's 'Fabiola' and Gallone's 'Messalina' prove that even in a 'Peplum', strong characterisation is achievable.