Moi Claude empereur

Absolutely glorious series. All the actors in this series are in or have been in American films but they have always been underrated and are some of the best actors alive. There are more dames and knights than you can believe. Derek Jacobi is breathtaking in his performance. Sian Phillips is subtly evil. John Hurt as Caligula shines with madness. The sets are unbelievable considering the small budget they had. The most shocking thing is that everything in one sense or another is true. These people really did die these ways. It will take you completely out of your everyday life and deposit you in the world of the Romans.

After reading the reviews on IMDb, I bought the DVD set. I have watched the series countless times since and still continue to marvel at the quality of this work.

For anyone unfamiliar with the early Roman principate, the Julio-Claudian dynasty was in power for a period of about 80 years from Augustus to the death of Nero in 68 AD. This TV series covers the period from about 20 BC to 54 AD - the death of emperor Claudius.

The story is semi-autobiographical, written by Claudius towards the end of his reign and covering the history of his family from Augustus down to the young Nero, his successor.

Murder is the dominating theme, as Augustus' wife Livia artfully dispatches one imperial contender after another so that her son Tiberius can be emperor. It is not simply vanity that drives her machinations, but she is convinced that only Tiberius can keep the principate intact. Should any other candidate take over from Augustus, Rome would descend into civil war and anarchy. It is mostly Livia's actions that drives the story forward.

The acting is top notch. Much has been made about Derek Jacobi's performance, as the lame, stammering, clumsy Claudius. His family does not think much of him, but it is obvious to the viewer that he is a lot smarter and observant then he looks, as he absorbs all the goings on around him to chronicle them later in his book. Jacobi's performance deserves to go into legend, but the quality of the other performances does not allow him to run away with the film. Brian Blessed as the benevolent Augustus, Sian Philipps as Livia are fantastic. George Baker as Tiberius is very good in a particularly difficult role while John Hurt has the most interesting role to play - that of the madman emperor Caligula. The vast supporting cast are all excellent, particularly Patrick Stewart as Sejanus - Tiberius' tough, ruthless and scheming head of the Praetorian Guard.

Considering this is a BBC series with limited budget the production values are great. Direction is first class. Herbert Wise handles the vast story and the army of superb actors with great assurance.

For a drama series the story is quite accurate with history. Just two minor gripes. First the part of Tiberius as written portrays him as very much under the thumb of his mother, with a weak will and indecisive nature. Certain historical facts have contributed to this impression, such as him divorcing the wife he loved to marry Augustus' daughter. But the real life Tiberius was also very efficient and competent, keeping the empire stable during his 23 year reign and leaving the treasury rich. In this series his virtues are not highlighted enough.

Secondly the performance of John Hurt as Caligula. Herbert Wise himself expressed his astonishment at the greatness of Hurt's performance and Hurt certainly gives it a real go. But personally I was disappointed in the way Caligula was portrayed by Hurt. In his interpretation Caligula is a one dimensional madman with cruelty as his dominating urge. No one could disagree given the historical facts, but perhaps due to the freedom allowed in this role Caligula could have been portrayed with more depth, rather than a screaming shouting spoilt young man who believes himself a god. The real Caligula did believed himself to be a god, but perhaps as a result of the absolute power he held in his hands rather than some sort of mental disease. In the way Hurt has chosen to play the role he plays it well. But a more sophisticated interpretation would have rendered Caligula even more believable, and more frightening.

This series has everything, even length - it runs to over 600 minutes. The quality is unwavering throughout. A real treasure to own. It is extremely rare for a work of this quality to be to be realised over such a length, all the more pleasurable for the viewer.

Several writers here have commented that I, Claudius is the greatest ever TV series, the series by which all other TV work should be judged. I cannot agree more.

I Claudius is quite possible the supreme example of television drama. It is limited in budget and studio-bound, yet freed from the shackles of a 90-minute theatre slot it can encompass an entire dynasty of rulers and seventy years.

It is sustained by a succession of brilliant performances. Brian Blessed as Augustus combines pathos with violent outbursts that dominate the stage, Sian Phillips as Livia shows us just how charismatic a murderer can be, and over the whole series hangs the shadow of Derek Jacobi as Claudius, fighting against senility and plotting to the last, under the cover of being "Clau-Clau-Claudius the Idiot".

The series mingles comedy with horror and tragedy, and ends with a profoundly pessimistic note about humanity- understandable, given that the reign of Nero, Claudius' successor arguably proved even more bestial and savage than any of his predecessors. Write no more, Claudius, write no more. We have learned no lessons.

In writing his epic novels `I, Claudius' and `Claudius the God', from which this series is adapted, Robert Graves reinvented the genre of historical fiction. And he could hardly have chosen a more fascinating subject than the Julio-Claudian dynasty. Even a tame retelling, based strictly on verified historical fact, would have made an interesting tale. But by embracing the lurid, sensationalistic hyperbole heaped upon the founders of the Roman Empire by later writers (Suetonius and Tacitus in particular), Graves concocted the ultimate in dysfunctional families, weaving a tale of scandal and debauchery capable of shocking even the most jaded of modern audiences. The more eminent classicists, naturally, sneered, as eminent classicists tend to do toward anything that threatens to make the ancient world more accessible to `hoi polloi'. One is forced to admit that, as history, Graves' juicy narrative is bunk. But o ye gods, what enjoyable bunk it is!

The drama gives an insider's view of the Julio-Claudian Dynasty, the first emperors of Rome. Over the course of his long reign, Augustus has managed to bring peace to his nation after nearly a century of off-and-on civil wars. But he remains a man divided, hoping for the eventual return of the old Republican government, but knowing that the best hope for a lasting peace is the continued concentration of power in a single person. Augustus therefore sets himself to the task of grooming a successor, one who shares his dream and will continue laying the foundations for the restoration of the Republic. His wife, however, Livia Drusilla, is determined to thwart his plans, and embarks on a slow, murderous scheme to place her own son (whom she fancies she can control) on the throne. The tale is told through the eyes of Claudius, step-grandson to Augustus, who suffered from the crippling effects of a childhood illness and was thus despised and ignored by much of his own family. Regarded as an idiot and of no threat to anyone, he alone remains standing while the poison flows and the daggers flash. To the surprise of all (none the least himself) this drooling, stuttering, limping old fool turns out not to be such a fool after all, and in one of history's great ironies, wins the prize everyone but he is after: absolute power.

Again, the historical facts alone make this an interesting tale. But it is the tantalizing glimpse into the inner workings of the world's first `First Family' that makes `I, Claudius' so much fun. Bill Clinton's philandering and the endless public spectacle that is the British Royals just seem so incredibly dull and tame compared with the bad behavior of Augustus' clan. Matricide, patricide, fratricide, regicide, suicide, incest, rape, pedophilia.and that's on a slow day. Poisonings, stabbings, betrayals, double-crosses, triple-crosses, madness. And one gentle soul sitting in the corner watching it all. Robert Graves' story brings out the tremendous irony of a nation finally at peace with itself, but ruled by a family embroiled in its very own civil war. It's the sort of sordid tale one finds only in the most disreputable of tabloids, but then rendered in gorgeous prose and delivered by the finest actors. To the uninitiated, it might best be described as a guilty pleasure cleverly masquerading as a stuffy British period drama.

I don't think anyone could have hoped for a more faithful transition from book to film than what the BBC achieved. Working with a 12+ hour running time, screenwriter Jack Pulman was not forced to content himself with a `Cliff's Notes' version of the story. Events progress in a naturally expansive manner, and characters grow and mature (or fail to do so) believably over time. In recreating the novels for the stage (after all, let's face it - this is predominantly a televised stage play) Pulman was constrained only by a modest budget and the limitations of the television studio. Action is confined to indoor sets, and the more spectacular aspects of daily life in ancient Rome (attending the Circus Maximus, for example) are left to the viewer's imagination, hinted at by the sounds of roaring crowds but never actually seen. For those audience members not put off by such, or by the drab color and lighting usually reserved for daytime soap operas, the entire production is a treat from beginning to end.

The acting is superb at every turn. Derek Jacobi lends tremendous dignity to his portrayal of Claudius, whose physical handicaps might have come off as insulting or hammy from a lesser actor. He is utterly believable as the `wise' fool, the only person in the entire family NOT scheming for power, and therefore the only one worthy of it. As Livia, Siân Phillips is a study in controlled, cunning evil. The role is reminiscent of Eleanor of Aquitaine in `The Lion in Winter', except that even Katherine Hepburn's Oscar-wining performance in that film is utterly outdone here (ironically, Siân Phillips also played the role of Queen Eleanor, in the BBC's adaptation of `Ivanhoe'). John Hurt's gleefully decadent turn as Caligula is fascinating to watch. Hurt's eyes, throughout his portrayal, remain chillingly cold and lifeless even as he smiles and laughs - except of course, for his expression of shock upon realizing that his sister Drusilla is, in fact, mortal. The most impressive moment in the entire production, however, came from Brian Blessed (Augustus), whose slow, quiet, passing away remains the most convincing screen death I have ever witnessed.

There are simply not enough superlatives in the English language to express my opinion of the towering triumph that is `I, Claudius'. And seeing the 9.5 user rating here on the IMDB, apparently I'm not alone.

I won't add to the many superlatives ascribed to this wonderful series, well-deserved though they are. But I would like to point out a few vital details that help explain just why it is so wonderful.

(1) Much has been said about Siân Phillips' intense projection of evil, but just how does she do it? If you watch carefully, you'll see she never blinks in her close-up takes, some of which are very long. This gives her a snakelike appearance, which enhances her voice and cold beauty in imparting such an air of menace to everything she says.

(2) Much has also been said about the lack of expensive sets, location shots, or special effects. But the point is that this series is successful because of these apparent deficiencies and not despite them. So much modern cinema and TV is swamped by expensive irrelevances to the detriment of the basics -- writing, acting, and timing. 'I Claudius' shows just how important these things are, and how unimportant those expensive special effects can be.

(3) I had the good fortune to read both books before the series was made, and then to watch it with a critical eye. It was satisfying to see such an expert adaptation, but especially so to see how the central point of the story has not been lost: the inability of any ruler, however powerful, to control what happens at the end of the long chain of command that inevitably forms. I found this a message of lifelong importance in both politics and management, and it is rare indeed that such a remarkable piece of drama and entertainment is also so fundamentally educational.