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The Song of Songs (1933)

 -  Drama | Romance  -  19 July 1933 (USA)
6.8
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Ratings: 6.8/10 from 348 users  
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Country orphan Lily goes to Berlin to stay with her tippling aunt, and soon meets Richard, handsome sculptor across the street. Persuaded half-reluctantly to pose for Richard, her physical ... See full summary »

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Cast

Complete credited cast:
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Alison Skipworth ...
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Helen Freeman ...
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Storyline

Country orphan Lily goes to Berlin to stay with her tippling aunt, and soon meets Richard, handsome sculptor across the street. Persuaded half-reluctantly to pose for Richard, her physical charms (shown as fully as 1933 mores permitted) soon melt away his 'strictly business' attitude, and they become lovers. But Richard, wanting his freedom, connives at her marriage to his wealthy client Baron von Merzbach... whose household includes a jealous former mistress and a susceptible farm manager. Has Richard still a role to play in her life? Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

One of the world's great love stories comes to the star who can make it live

Genres:

Drama | Romance

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Details

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Release Date:

19 July 1933 (USA)  »

Also Known As:

Deep Night  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Brian Aherne replaced Randolph Scott in the leading male role of Richard Waldow. See more »

Quotes

Lily Czepanek: I can't take my clothes off!
Richard Waldow: Why? Why can't you?
Lily Czepanek: Why, I'd, I'd be undressed!
See more »

Connections

Referenced in Junjo no miyako (1933) See more »

Soundtracks

Symphony No.6 in F, Op.68 (The Pastoral)
(uncredited)
Music by Ludwig van Beethoven
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User Reviews

 
Early Dietrich, sans Von Sternberg
12 December 2005 | by (United States) – See all my reviews

Interesting to see Dietrich, early in her Hollywood career, working with a director other than her Pygmalion, Josef von Sternberg. The latter director provided beautiful but often-static set-ups for framing her, while Mamoulian's musicality and fluid camera release her. (Think also of his direction of Garbo in "Queen Christina," and that film's famous scene in which she moves lovingly and rhythmically--it was timed to a metronome-- around the bedroom, watched by her lover. )

I think this is one of Dietrich's best performances. She passes through many phases, from naive young girl to earthy woman. Her song "Johnny" is sublime--and moving, when she angrily tears into the second chorus after spotting in the audience the lover who had abandoned and disillusioned her.


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