As a longtime film critic with a deep appreciation for history and a keen sense of humor, I was immediately intrigued by Netflix’s new limited series “The Decameron.” Having spent countless hours poring over classic texts from centuries past, I was drawn to the concept of bringing Bocaccio’s 14th-century anthology to life in a modern context.
In the past, before the existence of online shows or table reads held at one location, there was an early form of entertainment that emerged during a pandemic – “The Decameron” by Bocaccio, a 14th-century collection of short stories from Italy. This book, which is over 600 years old, might be considered an obscure reference even in our culture that frequently reboots. However, there’s a compelling reason to revisit “The Decameron” following another widespread disease outbreak: it tells the story of a group of Italian nobles who retreat to the Tuscan countryside during the Black Plague and share stories as a means of coping with their circumstances.
“Netflix’s ‘The Decameron,’ an eight-episode series produced by Kathleen Jordan (‘Teenage Bounty Hunters’), is only loosely based on the original 14th-century text of the same name. Unlike its source material, which involves travelers sharing stories to pass the time as in ‘The Canterbury Tales’ or ‘One Thousand and One Nights,’ this adaptation concentrates solely on the lives and hidden agendas of the Florentine nobility and their servants trapped in a villa. This setup bears resemblance to ‘The White Lotus’ (COVID version), which has gained recognition as the pinnacle of art inspired by confinement.”
In simpler terms, “The Decameron” TV series may not rival Mike White’s acclaimed HBO project in terms of popularity, but it showcases an exceptional ensemble cast in a witty and humorous way. Producer Jenji Kohan, who has experience handling large casts confined to one place (“Orange Is the New Black”), masterfully brings out the chaos as the days pass and desperation grows among these strangers. Although the close quarters and shared air can be uncomfortable, we can enjoy the situation as a source of black comedy rather than a painful reminder of past hardships.
In “The Decameron,” the cast list spans from experienced comedic actors to emerging talents. Following his roles in “Arrested Development” and “Veep,” Tony Hale’s impressive background qualifies him for the position of host. Hale portrays Sirisco, the head servant at the villa, who is tasked with welcoming the newcomers during the unsettling time of a rampant pestilence outside. Among these new arrivals are Pampinea (Zosia Mamet), a 28-year-old self-proclaimed spinster, eager to meet her fiancé, the villa’s absentee owner, and Misia (Saoirse-Monica Jackson from “Derry Girls”), who faces humiliations such as fetching Pampinea’s daily cheese.
In due time, Pampinea opts to bypass the groom and instead arrange a phony marriage for social standing. She isn’t alone in this deception. Unlike the submissive Misia, the servant Licisca boldly assumes her boss Filomena’s identity after pushing her off a bridge. Panfilo, who genuinely belongs to the aristocracy, is accompanied by his pious wife Niefile, who has taken a vow of celibacy, but Panfilo secretly harbors different motivations. Lastly, the charlatan doctor Dioneo manipulates his hypochondriac patient Tindaro, without actually curing him.
Competitions, turns of events, and playful banter emerge, some spanning class divides. Mamet portrays Pampinea with a piercing intensity, making her an insecure and disconcerting character. McMeekin showcases a talent for playing the clumsy buffoon as Filibustero. Some of those hiding at home gain our empathy: Reynolds’ Licisca and Sirisco’s deputy Stratilia (Leila Farzad) manage to regain control in the face of authority. Licisca tells a worried Filomena, “You’re absorbing all the fear right now. There’s none left for me.” This statement encapsulates the burden of emotional responsibility amidst an abundance of humor.
Alongside “The Great,” “Bridgerton,” the recent “Lady Jane” and others, “The Decameron” belongs to the shockingly prolific class of anachronistic historical series that’s taken over TV as of late. “The Decameron” shot on location outside Rome, and keeps the Italian names, but otherwise makes few pretenses to accuracy. Thankfully, the show also declines to stress its parallels with our more recent brush with germ-related isolation. The themes it traffics in — social hierarchy, status anxiety, lust — are evergreen enough to stand on their own. The group assembled at the villa may face external threats from roving bandits, but their escalating hysteria means the seeds of their downfall are sown from within.
All eight episodes of “The Decameron” are now available to stream on Netflix.
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2024-07-25 16:16