Honestly, if you look at the 1950s French cinema scene, it was basically dominated by one woman: Martine Carol. She was the "Caroline Chérie" of everyone's dreams, the blonde bombshell who held the throne before Brigitte Bardot came along and changed the rules. But there is one specific project that stands out because of its raw, international energy. I'm talking about the time Martine Carol and Pedro Armendáriz film together in the 1953 epic Lucrèce Borgia (also released as Sins of the Borgias).
It wasn't just another costume drama. This was a massive French-Italian co-production directed by Christian-Jaque, who, interestingly enough, was actually Carol's husband at the time. Bringing in Pedro Armendáriz was a stroke of genius. He was a titan of Mexican cinema and a favorite of John Ford. Seeing these two polar opposites share a screen—the ethereal, often tragic French star and the rugged, powerhouse Mexican actor—created a friction that most historical films of that era lacked.
The Casting of Lucrezia and Cesare Borgia
Most people get the Borgias wrong. They think of them as just cartoonish villains. But in this 1953 version, the focus was heavily on the intense, almost claustrophobic relationship between the siblings. Martine Carol played Lucrezia, and Pedro Armendáriz took on the role of the ruthless Cesare Borgia.
It was a bold move.
Armendáriz didn't look like a traditional Italian Renaissance noble, but he had this presence. He felt dangerous. When you watch him on screen with Carol, you get the sense of a man who would burn down half of Italy just to keep his sister under his thumb. Carol, meanwhile, was at the height of her "glamour" period. She was known for her bathing scenes—which were quite scandalous for the time—and Lucrèce Borgia definitely leaned into that. Yet, beneath the soap bubbles and the lace, she brought a certain vulnerability to Lucrezia that made the character feel like a pawn in a much deadlier game.
📖 Related: Why American Beauty by the Grateful Dead is Still the Gold Standard of Americana
A Production of Excess
The scale of this movie was insane for 1953. We are talking about:
- Technicolor that looked so saturated it almost hurt your eyes.
- Massive sets built to replicate the Vatican and various Italian palaces.
- Costumes that cost more than some small-budget films of the decade.
- A runtime of 120 minutes, which was quite a commitment for audiences back then.
They didn't hold back on the "sins" part of the title either. While the US version was often trimmed by censors, the original French cut was surprisingly frank about the corruption and the supposed incestuous undertones of the Borgia family.
Why the Martine Carol and Pedro Armendáriz Collaboration Worked
You might wonder why a French director would hire a Mexican lead for a story about Italians. It’s all about the "Macho" vs. "Muses" dynamic. Armendáriz brought a level of intensity that French leading men of the time, like Gérard Philipe (who was brilliant but softer), didn't quite possess.
Armendáriz was coming off huge successes like The Pearl (1947) and was already a global star. His performance as Cesare is loud, physically imposing, and totally dominates every scene he’s in. On the flip side, Carol was the ultimate image of mid-century French femininity. The contrast worked. It made the Borgia household feel like a collision of different worlds, which, historically, isn't that far from the truth.
👉 See also: Why October London Make Me Wanna Is the Soul Revival We Actually Needed
The Realistic Side of the Glamour
Life on set wasn't always as pretty as the Technicolor frames. Martine Carol was a notoriously hardworking but troubled star. She lived under immense pressure to maintain her "most beautiful woman in the world" status. Working with her husband, Christian-Jaque, added another layer of complexity. He was obsessed with filming her in the most flattering ways possible, often at the expense of the actual historical accuracy of the Borgia period.
Pedro Armendáriz, for his part, was a consummate professional. He was known for his discipline, a trait he likely sharpened while working on big Hollywood sets with John Wayne and Henry Fonda. He reportedly enjoyed the European production style, which was a bit more relaxed than the rigid Hollywood studio system, even if the language barrier (French vs. Spanish/English) was a constant hurdle during filming.
The Legacy of the 1953 Borgia Film
Is Lucrèce Borgia a masterpiece? Probably not in the way a Hitchcock or a Fellini film is. But as a piece of "Cinema de Papa"—the high-budget, lavish style that the French New Wave would later rebel against—it is top-tier.
It represents a specific moment in film history where international stars were crossing borders to create "prestige" spectacles. For Martine Carol, it was a career-defining role that proved she could carry a massive historical epic. For Pedro Armendáriz, it was a chance to show European audiences that his brand of masculinity was universal.
✨ Don't miss: How to Watch The Wolf and the Lion Without Getting Lost in the Wild
How to Appreciate This Film Today
If you want to track down this movie, look for the restored versions often titled Sins of the Borgias.
- Watch for the Chemistry: Pay attention to the scenes where Cesare and Lucrezia are debating the fate of her husbands. The power play between Armendáriz and Carol is subtle but effective.
- The Visuals: Even if you aren't into the plot, the cinematography by Christian Matras is stunning. The way they used light in the 50s was just different.
- The Context: Remember that this was made before the 1960s changed everything. It’s a snapshot of what "sexy and dangerous" looked like to an audience seventy years ago.
The fact that Martine Carol and Pedro Armendáriz film together only once in such a major capacity makes Lucrèce Borgia a unique artifact. It’s a weird, beautiful, slightly over-the-top relic of a time when movie stars were treated like royalty and history was just a backdrop for glamour.
To truly understand the impact of this collaboration, seek out the original French language version with subtitles rather than the dubbed English edits. The dubbing often strips away the nuances of Armendáriz's booming voice and Carol’s specific breathy delivery, which are central to their on-screen dynamic. Watching the film in its intended format reveals a much grittier, more sophisticated drama than the "sword and sandal" labels might suggest.
Actionable Insight: If you're a fan of classic cinema or the Borgia mythos, your next step is to compare this 1953 version with the more modern TV adaptations like the Showtime series or the Canal+ version. You’ll notice that while modern versions focus on political realism, the Carol/Armendáriz version is a masterclass in the "Star System"—where the charisma of the actors is just as important as the script itself. Look for the 2009 DVD release or check boutique streaming services specializing in European classics to find the highest-quality print.