âMarco Polo,â Fur-and-Armor Drama From Netflix
The showâs most egregious flaw, though, is its exploitation of female characters. In the first episode, almost the only time any women show up, it is to disrobe and be sexually ravaged. But hey, Episode 2 gives women a little more credit: In one scene, a lithe young woman kills three burly warriors who were intent on violating her. The thing is, she is stark naked when she does it; they, of course, are not.
And just when you think it is escaping its sexism, along comes, in Episode 5, a ridiculous hallucinogenic orgy scene that looks as if it were filmed by a teenage boy who had just discovered the special-effects buttons in iMovie.
Netflix is trying to expand globally, and itâs hoping that bloody combat, naked women and uninvolving 13th-century empire building are the way to do it.
The company has put a lot of money into âMarco Polo,â a 10-episode historical drama that becomes available on Friday, and those are the defining characteristics of the series. Itâs a disappointment, especially given the quality of other Netflix original programming like âHouse of Cardsâ and âOrange Is the New Black.â It would have been nice to see someone take the successful âGame of Thronesâ formula and expand on or enhance it, but âMarco Poloâ ends up skeletonizing it.
The series follows the historical figure of the title (Lorenzo Richelmy) as he is introduced to the court of Kublai Khan (Benedict Wong), first as a prisoner, then as a trusted adviser. The poor khan has a lot on his mind as he tries to build and maintain a sprawling empire in Mongolia and China: a brother who also has empire-building aspirations, a walled city where pesky Song dynasty rebels are resisting his army, living up to the legacy of his grandfather Genghis Khan.
Young Marco, too, has things to think about. A flashback in the opening episode shows him meeting the father he has never known. Dad (Pierfrancesco Favino), a merchant, had been abroad working the trade routes while Marco grew to near manhood. If that werenât enough, they have barely become acquainted when the father offers Marco to Kublai Khan in servitude to advance his own business prospects. Twice abandoned: That is some serious daddy-issue baggage.
The series tries to work up interest in the machinations of the khan and his adversaries, which advisers and relatives have traitorous intentions, whether itâs time to order a military assault or continue to play cat and mouse, and so on. These are the very things latched onto by fans of âGame of Thronesâ and the other fur-and-armor dramas television has seen in recent years, but âMarco Poloâ somehow doesnât scream, âItâs vitally important that you care about how these made-up intrigues play out!â
Perhaps itâs the uninspired dialogue, which invests heavily in cryptic nonsense. (âIt is better to be hated for what you are than to be loved for what you are not.â) Perhaps itâs the reliance on imitation rather than innovation, and not just of âGame of Thronesâ; Marcoâs training in the ways of khanian combat by a fellow named Hundred Eyes (Tom Wu) calls to mind the old âKung Fuâ series. The real Marco Polo may have been an adventurer seeking out new things, but âMarco Poloâ doesnât have this spirit and instead makes you wonder if the costume-drama fad is played out.
The showâs most egregious flaw, though, is its exploitation of female characters. In the first episode, almost the only time any women show up, it is to disrobe and be sexually ravaged. But hey, Episode 2 gives women a little more credit: In one scene, a lithe young woman kills three burly warriors who were intent on violating her. The thing is, she is stark naked when she does it; they, of course, are not.
Eventually a few female characters emerge as more than sex objects: Joan Chen as the khanâs empress; Zhu Zhu as a princess who infatuates Marco. But by then, the series has already shown its true colors. And just when you think it is escaping its sexism, along comes, in Episode 5, a ridiculous hallucinogenic orgy scene that looks as if it were filmed by a teenage boy who had just discovered the special-effects buttons in iMovie. Yes, perhaps women were nothing but sex objects in the real Kublai Khanâs empire, but this series is historically accurate only when it wants to be; the better examples of the costume genre have found ways to treat female characters less dismissively.
âMarco Poloâ will probably do decent business, thanks to its international cast and lowest-common-denominator aspirations. It just wonât garner the critical respect of other Netflix offerings. It could have. There are underexplored themes here â cultural collision, whether empires are best built by assimilation or force â that might have given weight to the proceedings. But the series seems to have been content with a battle-and-bodice emphasis, because thereâs always a market for blood and sex.
The Sex Saga Of Marco Polo’s Mistress
[Full Video Download Below]
The Sex Saga Of Marco Polo’s Mistress
File Size: 1.61 GB | Format: MPEG | Runtime: 14:54 Minutes
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