The Scarlet Empress (1934)

A German noblewoman enters into a loveless marriage with the dim-witted, unstable heir to the Russian throne, then plots to oust him from power.

Director:

Josef von Sternberg

Writers:

Catherine II (based on the diary of), Manuel Komroff (diary arranged by)

Stars:

Marlene Dietrich, John Lodge, Sam Jaffe

1 win.

Cast

Complete credited cast:
Marlene Dietrich	...	Princess Sophia Frederica / Catherine II
John Lodge	...	Count Alexei
Sam Jaffe	...	Grand Duke Peter
Louise Dresser	...	Empress Elizabeth Petrovna
C. Aubrey Smith	...	Prince August
Gavin Gordon	...	Capt. Gregori Orloff
Olive Tell	...	Princess Johanna Elizabeth
Ruthelma Stevens	...	Countess Elizabeth 'Lizzie'
Davison Clark	...	Archimandrite Simeon Todorsky / Arch-Episcope
Erville Alderson	...	Chancelor Alexei Bestuchef
Philip Sleeman	...	Count Lestoq (as Phillip Sleeman)
Marie Wells	...	Marie Tshoglokof
Hans Heinrich von Twardowski	...	Ivan Shuvolov (as Hans von Twardowski)
Gerald Fielding	...	Lt. Dmitri
Maria Riva	...	Sophia as a Child (as Maria)

Storyline

Young Princess Sophia of Germany is taken to Russia to marry the half-wit Grand Duke Peter, son of the Empress. The domineering Empress hopes to improve the royal blood line. Sophia doesn't like her husband, but she likes Russia, and is very fond of Russian soldiers. She dutifully produces a son -- of questionable fatherhood, but no one seems to mind that. After the old empress dies, Sophia engineers a coup d'etat with the aid of the military, does away with Peter, and becomes Catherine the Great.

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Plot Keywords:

riding a horse indoors | hatred | horseback riding | army | stubbornness | 

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Taglines:

The Reigning Beauty of the Screen!

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Genres:

Drama | History | Romance

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Certificate:

Passed

Details

Country:

USA

Language:

English

Release Date:

7 September 1934 (USA)

Also Known As:

Catherine the Great

Filming Locations:

Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Angeles, California, USA

Box Office

Budget:

$900,000 (estimated)

Company Credits

Production Co:

Paramount Pictures

Technical Specs

Runtime:

104 min

Sound Mix:

Mono (Western Electric Noiseless Recording)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

This film is notable for its prolific use of title cards in the mid-1930s. By the film's release in 1934, film title cards had fallen out of favor, particularly when used to advance the action or plot of a film. Film historians believe that this film has one of the most-frequent usages of title cards since the silent era.

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Goofs

During the wedding feast, a skeleton can be seen bent over a cauldron. However, bolts in the joints of the skeleton and a precision cut across the skull indicate that it is an anatomical- or medical-skeleton model, an object that would not have been readily available in 18th-century Russia.

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Quotes

Capt. Gregori Orloff: There is no emperor. Only an empress.

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Connections

Featured in Marlene Dietrich: Her Own Song (2001)

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Soundtracks

Rondo Capriccioso in E Op.14
Written by Felix Mendelssohn-Bartholdy
Excerpts incorporated into the score often

User Reviews

A Masterpiece of Hollywood Weird

This picture is absolutely one of the oddest damn things ever to come out of the old Hollywood studio system. Von Sternberg himself called it "a relentless exercise in pure style" and he wasn't kidding. Where to begin? For starters, it marks the apex of Sternberg's worship of Marlene Dietrich (worship is hardly too strong a word; it might not be strong enough). His justly famous expressionistic lighting, brilliantly shot by Bert Glennon, dazzles the eye throughout. During the wedding ceremony, for instance, the whole scene is lit by what must be 10,000 candles and is shot through a variety of diffusion materials; in one shot Dietrich's face can hardly be more than a foot from the camera lens but there is a candle between them, and fabric as well, making her face waver and melt into the sensuous texture. This scene is largely silent, and the movie as a whole, though made in 1934, is often silent with music only. Rubinstein's "Kammenoi-Ostrow" arranged for chorus and orchestra plays through the whole wedding scene while Sam Jaffe, a wonderful and versatile actor, plays the insane Grand Duke Peter like Harpo Marx on bad acid. The dialogue throughout is just plain weird, and the mise-en-scene far weirder. Sternberg has created an entire fictitious style for this movie that might be called Russian Gothic. The buildings in no way resemble the airy rococo palaces where the real Empress Elisavieta Petrovna spent her time; rather we are given a nightmarish phantasmagoria of wooden architecture with railings and balustrades carved into the shape of peasants in attitudes of great suffering, and vast doors which armies of ladies-in-waiting struggle to open and close. The aftermath of a brutal feast is portrayed with a skeletal tureen stand presiding over the indescribable flotsam and jetsam. Louise Dresser is a hoot as Empress Elizabeth, never mind the accent; and I also like John Lodge, although I didn't at first; the aplomb with which he delivers his outrageous dialogue finally won me over. Please ignore all the stupid stories about Catherine the Great and horses that you may have heard; there isn't an ounce of evidence for any of them. Instead relish the opening of this gloriously crazy movie: Edward van Sloan, in his best "Dracula/Frankenstein" mode, reading to the little girl Catherine about Ivan the Terrible and Peter the Great, as we dissolve to fantastic scenes of barbaric torture, culminating in a shot of some peasant being used as the clapper of a bell, which dissolves to the sweet young adult Catherine of some years later on a swing. In the 18th century, swings were considered highly erotic, and Sternberg misses none of this. She is called away by a servant, and runs breathlessly into the parlor where her parents are receiving the Russian envoys. Her actions are literally choreographed to the music as she bobs and weaves around the room, kissing hands and saluting her elders. This is pure cinema, and absolutely nuts, but glorious. Take a good strong snort of whatever your favorite mind-expander may be (a dry red wine with a shot of Stolichnaya under it is my recommendation in this case) and blast your brain with a truly strange movie made by real artists.