Hellen I like the storyline of this show,it attract me so much

Dartherer I really don't get the hype.

Derry Herrera Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

Caryl It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

dbdumonteil First effort in the Martine Carol (then the director's wife) period for director Christian -Jaque :"Lucrece " was followed by a horrible sketch in "Destinées" ,then two costume dramas ("Nana" "Madame Du Barry");"Nathalie" an undistinguished spy thriller was the end of the era .UNlike the best works of the thirties and forties ,these glossy productions, filmed in color ,were icily impersonal ,but Christian- Jaque knows the tricks of the trade : impressive settings ,glistening colors ,prestige cast (Carol ,Christian Marquand,Pedro Armendariz ,even dwarf Pieral ,Maurice Ronet).Who cares if Martine is too old for the part? (In Delannoy's sketch in " Destinées ,Michele Morgan ,thirty-four,portrayed Joan of Arc!)enter Who cares if a whole sequence is borrowed from "the most dangerous game" ,complete with spears and dogs ?Who cares if the orgies were inspired by Abel Gance 's own version (1935)?Lucrezia was essentially a pawn in her dad's and her brother's games ,a political way to enter into alliance with a potential enemy :so who cares if she really loves the duke of Aragon?On this point,the movie is accurate.There's a sadistic scene in which two old men fight for their lives over fires :Lucrezia gladly watches this dubious show. Historians generally agree that the heroine 's bad reputation has been blown out of all proportion ,and she was mainly a patron ,protecting the arts.It's not among Christian-Jaque's best films ,but it's perfect Saturday-night-at-the -movies stuff.Why deny yourself an entertaining yarn?

PeplumParadise The infamous Borgia family who ruled Italy in the 15th and 16th centuries and the scandals surrounding them have provided juicy fodder for film and television since the very beginning, and were the subject of at least seven Italian productions during the golden years of peplum ('49-'69), of which this predominantly French production was the first, and reputedly the best, though several appear to be missing presumed lost. This lavish, lively and colourful film focuses on Lucrezia Borgia (doe-eyed Martine Carol), her second marriage of convenience to and romance with Spaniard Alphonse D'Aragon (Massimo Serato, looking youthful and handsome), and the succession of lovers who follow him. Of the many scandals which surround the Borgia family legend, the incestuous relationship with her brother Cesar (Pedro Armendariz) is strongly hinted at but not shown, her reputation as a woman of loose morals is ably demonstrated, Lucrezia suffers kicking and whipping at the hands of her brother, numerous foes are assassinated by an assortment of means, while the family's penchant for cruelty is adequately displayed in one scene where they laugh as prisoners are publicly tortured for their entertainment, and another where men are hunted and killed for sport. Martine Carol, who at 33 is rather too old to convincingly play the role of an 18 year old, does get several quite-shocking-for-their-time naked bath scenes which leave practically nothing to the imagination, not to mention a fairly graphic orgy scene featuring numerous topless women, which were cut for international release. Production values are high with beautiful costumes and sets, while the performances are uniformly excellent and the script is constantly engaging, making this one of the most enjoyable and compelling of the peplum costume dramas.

opusv5 I just saw a French-language (w/subtitles) DVD of this film, which is/was famous for Martine Carol's bathing au naturelle. That is not the film's only nudity, and the film was probably thus censored upon release in the USA. Otherwise, the costumes and overall production values were impressive for the era, considering that European cinema didn't have Hollywood's finances. Martine Carol played the part adequately while showing a good figure for someone past the age of thirty (we could all do as well). I'm not sure if Pedro Armendariz spoke French, but he plays the part of Lucrezia's brother César credibly. This film is condensed and probably filtered history, though it is possible that the Borgias, especially Lucrezia, may suffer from a bad press. They had many enemies, some deserved, who may have exaggerated their deeds into misdeeds.

MARIO GAUCI This reasonably well-mounted and quite stylish historical saga features impeccable period detail but, unfortunately, fizzles out in the second half – emerging to be rather uneven overall. Besides, it doesn’t rise to the full potential offered by its famous (and much-filmed) events – especially given the fact that the character of Lucretia has been considerably whitewashed! Still, the court intrigue is more interesting than the romance – but the pageantry is rather splendid, and there’s plenty of exciting action throughout (including a manhunt a' la THE MOST DANGEROUS GAME [1932]).The casting, too, is exemplary: Martine Carol is an ideal Lucretia (she went on to portray another famous ‘courtesan’ in Max Ophuls’ sublime LOLA MONTES [1955]); a dashing Massimo Serato; a rather subdued Pedro Armendariz as Cesare Borgia; an impressively slinky Arnoldo Foa' as Cesare’s resourceful lieutenant; rugged Christian Marquand and an impossibly young Maurice Ronet as two of Lucretia’s ill-fated conquests; a blink-and-you’ll-miss-him Howard Vernon as a vicar; Valentine Tessier as a wealthy eccentric (she had been Madame Bovary in Jean Renoir’s 1933 version); and Pieral, the psychoanalyst dwarf from Luis Bunuel’s THAT OBSCURE OBJECT OF DESIRE (1977), who provides amusing but somewhat misplaced comic relief.For the record, the following are the other films I’ve watched centering around this infamous noble family: Mitchell Leisen’s BRIDE OF VENGEANCE (1948), Henry King’s PRINCE OF FOXES (1949; recently released on DVD); and Sergio Corbucci’s much-inferior remake of THE MAN WHO LAUGHS (1966). One I’d love to check out is Abel Gance’s LUCREZIA BORGIA (1935; also available on disc through Image).