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Saraband (1948)

Saraband for Dead Lovers (original title)
Approved | | Biography, Drama, History | 4 October 1948 (UK)
A young woman marries Prince George but it's far from a love match. Then she falls for a Swedish Count.



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Nominated for 1 Oscar. Another 1 nomination. See more awards »


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Cast overview, first billed only:
The Electress Sophia (as Francoise Rosay)
Frederick Valk ...
The Elector Ernest Augustus
Prince Charles
Frau Busche
Duke George William
Mercia Swinburne ...
Countess Eleanore
Cecil Trouncer ...
Major Eck
Count Platen
Barbara Leake ...


A young woman marries Prince George but it's far from a love match. Then she falls for a Swedish Count.

Plot Summary | Add Synopsis


A Romance that rocked the Thrones of Kings.


Approved | See all certifications »




Release Date:

4 October 1948 (UK)  »

Also Known As:

Saraband  »

Company Credits

Production Co:

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Technical Specs


Sound Mix:

(RCA Sound System)


(Colour by) (Technicolor)

Aspect Ratio:

1.37 : 1
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Did You Know?


The story of the romance between Sophia Dorothea and Konigsmarck is based largely on a series of love letters published in 'The Love of an Uncrowned Queen' (1900), which may or may not be forgeries. See more »


Prince George Louis: I hear she doesn't want me for a husband. Well, I sympathise with her - I don't want her for a wife.
See more »

Crazy Credits

Opening credits prologue: FROM a Germany that was then a collection of small and independent States, GEORGE LOUIS of Hanover succeeded to the throne of England. As KING GEORGE the FIRST he left behind him a prisoner in the CASTLE of AHLDEN - - a woman whose name he tried to obliterate from the pages of history, whose story he determined should die with her. It was the story of the woman who had been his wife......SOPHIE DOROTHEA. See more »

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User Reviews

SARABAND FOR DEAD LOVERS (Basil Dearden, 1948) ***1/2
24 January 2010 | by See all my reviews

I have always wondered why this movie – which is generally accorded the rank of a minor classic by film critics and historians – is not better known today and more widely discussed; having now watched it for myself, while I would readily proclaim it a near-masterpiece, I can perhaps also pinpoint the reason behind its relative neglect: the thing is that its production company Ealing Studios (whose first color production – and, in hindsight, its costliest flop – it was) is more associated with its celebrated run of droll comedies than with tragic historical romances. Although SARABAND FOR DEAD LOVERS may initially seem to pertain to the "Gainsborough school" of costumers then in fashion in British cinema that were spearheaded by the box-office popularity of THE MAN IN GREY (1943), the film was clearly intended from the outset to be on a higher artistic plane altogether. Co-written by the great Alexander Mackendrick (who would soon go on to direct some of Ealing's finest comedies), the film greatly benefits from Michael Relph's sumptuous décor, Douglas Slocombe's gleaming Technicolor cinematography (that indeed makes one bemoan the fact that Optimum's far from optimally restored R2 DVD does not really do it justice!) and Alan Rawsthorne's majestic score; on top of it all, we have masterful direction (undeniably one of the finest showcases for the distinguished Basil Dearden) and impeccable acting from a splendid roster of actors: Stewart Granger (as the dashing but ill-fated Swedish soldier Konigsmark, SARABAND FOR DEAD LOVERS was reportedly the one film of his he liked best!), Joan Greenwood (a very moving performance as the doomed Princess Sophie Dorothea), Flora Robson (excellent as an unlikely courtesan/king-maker with her own designs on Granger), Francoise Rosay (as the formidably inflexible matriarch), Peter Bull (typically loathsome as the future King George I), Michael Gough (as his martyred younger brother), Frederick Valk (as one of Robson's 'conquests' and Rosay's kin), Anthony Quayle (as Robson's reptilian spy), Megs Jenkins (as Greenwood's empathizing maid), Guy Rolfe (appearing in the opening sequences as one of Greenwood's wardens) – and, allegedly in bit parts, even Peter Arne, John Gregson and Christopher Lee!! Among the various impressively-staged sequences in the film, two particular highlights stand out: a masked Greenwood's panic-stricken passage through a crowd of Carnival revelers being terminated by the sudden appearance of a facially uncovered Granger; and the climactic swordfight in a darkened hall which depicts a wounded Quayle mortally knifing Granger in the back, followed by the latter (having just uttered the name of his beloved Sophie Dorothea with his dying breath) being stomped in the face by a vindictive Robson!

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