Isobel Grieve
Loosely based on the Italian classic Decamerone: Prencipe Galeotto, written by Giovanni Boccaccio in 1353, The Decameron is a series of 100 tales framed in the context of a small group of nobles sequestered in an isolated villa outside of Florence in Italy to avoid the Black Death plaguing the urban centres.
The original material was banned in the United States just after conception for obscene, filthy, and inappropriate content. Netflix’s adaptation shares much of the same debauchery; rather than telling short tales, we follow the interminglings of these selfishly foolish nobility and their poorly kept servants.
Showrunner Kathleen Jordan, known for Teenage Bounty Hunters, also on Netflix, makes a fantastic series about death, sex, society and terrible manners. If you liked the recent Amazon hit My Lady Jane, you’ll like this tragic comedy with the same vibe but far less romantic.
The Decameron cast many recognizable faces in this adaptation. You may recognize Saorise-Monica Jackson from Derry Girls and Upgraded, who plays Misia, and the loyal servant of Pampinea (Zosia Mamet), whom you may remember from HBO’s Girls. Licisca (Tanya Reynolds), whom you may recognize from Sex Education and Emma, is the scheming servant to Filomena (Jessica Plummer), whom you’ll remember from EastEnders. Dinoneo (Amar Chadha-Patel) is the scoundrel doctor to Tindaro (Douggie McMeekin). Panfilo (Karan Gill) from I May Destroy You and Neifile (Lou Gala) from Julia are a young married couple divided by lust and god. The fantastic character actor from Veep and Arrested Development, Tony Hale, plays Sirisco, the steward of the villa where our guests collect for their “Holiday,” and Stratilia (Leila Farzad) is the cook, maid, farmhand, etc., due to the rest of the staff dying from the Plague.
Together, these actors create a chaotic group of miscreant scoundrels vying for survival in the impossible era of the Black Death. Every episode offers a new string of pandemonium. We watch as scheme after scheme is arranged to devise wealth, power, and sex. No matter how often there is a twist in a selfish plot, there is never a dull repeat of circumstance.
Though the context and situations are outlandishly written, not every performance meets the benchmark; yet overall, I was pleased with how good of a time it was to watch. The choice of actors come from a wide range of experience and genres; those who consistently serve in their roles are Tony Hale, Tanya Reynolds, Saorise-Monica Jackson and Jessica Plummer. Tony Hale shows how amazing he can be in this confident steward who differs significantly from his typical casting type. Tanya Reynolds also plays a character quite different from her infamous role in Sex Education. However, her place in Emma reminds me greatly of the performance she gives in The Decameron. Reynolds finds an outstanding balance between the awkwardness of her character’s situation and the humanity in her actions. Saorise-Monica Jackson plays quite similarly to the squeaky Erin of Derry Girls, but that is no disappointment. Jackson is hilarious, feisty and perfect in this anarchy. Jessica Plummer does spoiled brat redemption well. How could I not proclaim the Lou Gala queen on lusty nuns everywhere? Though at points her character seems one-dimensional, I still find the naivete of Gala’s devotion to god amongst her horny disposition very fun to watch.
As for Zosia Mamet, I’m sorry to say that I find watching her character as annoying as the characters in the show find her. I don’t see the Valley Girl accent and constant screaming as very funny; I think it is juvenile. However, I understand that this genre of ridiculous character is right up the original material’s alley. Though I have not read The Decameron of the 14th century, I have read works by Chaucer greatly inspired by Giovanni Boccaccio, and foolish characters like Pampinea were ripe throughout his writings such as The Canterbury Tales. I could also say the same about Tindaro (Douggie McMeekin), who is horrendously ill-mannered, sexist, and irrational.
The doctor of Tindaro, Dinoneo (Amar Chadha-Patel), is a compelling character, not just because Chadha-Patel is so rakishly handsome. Dinoneo’s schemes come from a need for survival and the selfishness of a narcissistic philanderer. However, he is not without some heart and feeling.
I wish The Decameron were a little more gay. Panfilo (Karan Gill) makes me all the more wishful for queer stories in this framework and all the naughty plotting that goes with the secrecy of it, Misia too. It was sad to see the queerness downplayed as a side act rather than a main event.
Even though there is always another angle for power, this series isn’t without heart and charming admissions of guilt and mourning. The deepening of connections and friendships between characters makes this chaotic comedy soulful and relatable. The sleeper agent of charm is Stratilia (Leila Farzad), whose silent moves behind the backs of every noble and servants make for the most diabolical twist of all.
