"Rome" starts its short, remarkable run with "The Stolen Eagle", with every trademark of the average historical drama: hard sex, frequent violence, British accents, conspiracies being hatched in dimly lit chambers, a narration even! But "Rome" is anything but: yes, the setting is there, exquisite production design is there but writing is the real star of the show. Instead of taking the well-known story and letting it unfold in its perfect high-budget package, the writers put a spin on many stories, presenting them in different circumstances, from different points-of-view, reinforced by constant action and with a sensibility that projects the era's morals rather than our own, thus making the series oddly and refreshingly modern! For starters, "The Stolen Eagle" actually has a plot rather than just introducing us to the show's characters in a simple chapter of the story around them, as is the case with most historical shows. This particular episode centers on Caesar's attempt to entice Pompey to war without being seen to, a plot that is unavoidably interwoven with the fate of the Republic and a dozen other characters, both patricians and plebes.
We are very early acquainted with most roles in "Rome" and by first glance, they feel somewhat recognizable: Caesar and Pompey each have scenes of megalomania and emotion and both differ sufficiently while at the same time sharing many similarities, we get only a glimpse of a very arrogant, extravagant, vulgar Mark Antony, we have the compulsory manipulative, lustful Roman widow-schemer in Atia and the relatable duo of soldiers in Pullo and Vorenus. Over the course of the series all of these roles will expand and develop in shocking and magnificent ways but even from "The Stolen Eagle" it is apparent the show's lucky to have such a cast: Ciaran Hinds plays a very original Caesar, always alert but calm, Ray Stevenson and Kevin McKidd ground two extremely well-matched characters, Kenneth Cranham is excellent as the rather old-school, seemingly benevolent Pompey who seems to linger on military triumphs of the past and Polly Walker is a force of nature as the fierce social climber Atia. Max Pirkis, Kerry Condon, Lindsay Duncan and Tobias Menzies put in some cameos but their roles will be among those which flower substantially. My favorite moment from the episode though has to come from David Bamber's serpentine Cicero: he silences the Senate so that Pompey can speak, only to usurp his right and make his point instead! Direction by Michael Apted is stable and assured, dynamic and energetic especially in the aptly lit battle scenes. Production design and set dressing are especially evident in the enormity of the Roman camp and the Forum and my favorite shot of the episode has to be of the scorched field that once played host to the Roman military establishment!
We are very early acquainted with most roles in "Rome" and by first glance, they feel somewhat recognizable: Caesar and Pompey each have scenes of megalomania and emotion and both differ sufficiently while at the same time sharing many similarities, we get only a glimpse of a very arrogant, extravagant, vulgar Mark Antony, we have the compulsory manipulative, lustful Roman widow-schemer in Atia and the relatable duo of soldiers in Pullo and Vorenus. Over the course of the series all of these roles will expand and develop in shocking and magnificent ways but even from "The Stolen Eagle" it is apparent the show's lucky to have such a cast: Ciaran Hinds plays a very original Caesar, always alert but calm, Ray Stevenson and Kevin McKidd ground two extremely well-matched characters, Kenneth Cranham is excellent as the rather old-school, seemingly benevolent Pompey who seems to linger on military triumphs of the past and Polly Walker is a force of nature as the fierce social climber Atia. Max Pirkis, Kerry Condon, Lindsay Duncan and Tobias Menzies put in some cameos but their roles will be among those which flower substantially. My favorite moment from the episode though has to come from David Bamber's serpentine Cicero: he silences the Senate so that Pompey can speak, only to usurp his right and make his point instead! Direction by Michael Apted is stable and assured, dynamic and energetic especially in the aptly lit battle scenes. Production design and set dressing are especially evident in the enormity of the Roman camp and the Forum and my favorite shot of the episode has to be of the scorched field that once played host to the Roman military establishment!