'The Decameron' Review: A Missed Opportunity for Wit and Wisdom

Giovanni Boccaccio's 'The Decameron' is a cornerstone of 14th-century Italian literature, a collection of over 100 short stories that delve into various genres and have inspired countless adaptations. Among its many admirers were renowned authors like Geoffrey Chaucer and William Shakespeare, who drew influence from Boccaccio's tales.

However, Netflix's latest miniseries adaptation of 'The Decameron,' developed by Kathleen Jordan, strays significantly from the original's charm and wit, offering a loose interpretation that struggles to capture the essence of the source material.

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Set in the early 14th century during the Black Plague, the series follows a group of nobles and servants who retreat to a countryside villa in Italy, seeking refuge from the devastation of the pandemic. Amidst the backdrop of death and despair, the characters indulge in wine, s*x and reveal secrets, including a handmaiden pretending to be her master. However, as they come to terms with the realities of the plague, the villa becomes less of a haven and more of a crucible for their fears and desires.

While Jordan aims to draw parallels between the historical plague and the modern COVID-19 pandemic, particularly in how class differences shape experiences, the series falters in delivering a compelling narrative. The characters are often unlikable and lack depth, making it challenging for viewers to invest in their stories. Despite some attempts at character development—such as Licisca, played by Tanya Reynolds, who finds a new sense of agency, and Jessica Plummer's Filomena, who grows more empathetic—the overall progression feels sluggish and uninspired.

The eight-episode format, with each episode lasting around an hour, could have allowed for significant character arcs. However, the series leans too heavily on comedic situations and romantic entanglements, sacrificing meaningful development. This approach undermines the potential for more profound storytelling, leaving the narrative feeling shallow and repetitive.

A major disappointment lies in the show's attempt at humour. Boccaccio's original work was known for its wit, often poking fun at the Catholic Church and society's foibles. In contrast, the Netflix adaptation opts for broader humour, relying on the characters' exaggerated behaviours rather than sharp wit or clever satire. The promised raunchy humour is inconsistent, with the first episode setting a tone that the rest of the series fails to maintain.

Although there are occasional moments of levity, particularly in the exchanges between Saoirse-Monica Jackson's Misia and Tony Hale's Sirisco, the series largely lacks the kind of humour that would make it memorable. The dialogue, though period-appropriate, often feels stilted and fails to capture the playful irreverence that made Boccaccio's work timeless.