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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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(by), (screenplay) | 1 more credit »
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Nominated for 1 Oscar. Another 1 nomination. See more awards »

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Cast

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

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

Taglines:

A Romance that rocked the Thrones of Kings.


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

4 October 1948 (UK)  »

Also Known As:

Saraband  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Color:

(Colour by) (Technicolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

While shooting tests as a stand-in for Stewart Granger, Christopher Lee actually got a part in the film, but the scene was cut out, presumably because both actors looked too much alike. See more »

Quotes

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

Closing credits epilogue: SOPHIE DOROTHEA

BORN AT CELLE..... SEPTEMBER 15TH. 1666

WIFE OF KING GEORGE 1 of ENGLAND

and MOTHER OF KING GEORGE 11

DIED AT AHLDEN....NOVEMBER 13TH. 1726 See more »

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User Reviews

 
SARABAND FOR DEAD LOVERS (Basil Dearden, 1948) ***1/2
24 January 2010 | by (Naxxar, Malta) – 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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