Skandal bei Hofe

...but, oh, so much more. This film is, as other posts have already indicated, a buried treasure. Produced and prepared by Lubitsch, its source is the same as that of the Lubitsch-directed silent "Forbidden Paradise" (1924, starring Pola Negri, Adolphe Menjou and Rod La Rocque), considered by critic Paul Rotha to be Lubitsch's most brilliant film. "A Royal Scandal," surprisingly, has taken a critical drubbing over the years, and director Preminger professed not to like it. (It should be remembered, though, that Preminger, when interviewed, was often vague about his films.) Seems that Otto, though a great admirer of Lubitsch (and who was not?) did not feel comfortable with "the Lubitsch touch," which, he says, too often sacrificed character for easy laughs -- and, in this case, required an empress to act unlike an empress. Perhaps -- but on the other hand, on the evidence of this film, Preminger's mastery of the Lubitsch touch was thorough. The film is brilliantly paced (rapid fire and crackling dialogue throughout), superbly acted, magnificently designed and photographed, and scored very creatively by Alfred Newman. One sees the seeds for Tallulah's famous (though by now, sadly, near forgotten) offstage character in her shameless cruising of the young soldier (William Eythe) who wants no greater glory than to be close to the throne. And at this point, she is young enough to pull it off gracefully, veering just to the edge of camp without crossing the line. Eythe is a more-than-promising comedian: his two brief blinks as the empress Catherine tells him that she can see in his eyes that he is "good and true" are alone worth the price of admission. (Scenes between the two of them comprise a good half of the film.) Charles Coburn is very wisely used -- a consummate reactor, he is often seen in the background tellingly reacting to two characters' interaction in the foreground. Which is not to say that he doesn't have his own very bright moments. (Catherine's chancellor, he is the character who makes all the wheels turn.) Anne Baxter brings fire and music to her role as Eythe's fiancée, and Vincent Price brings a great deal of wit to what is little more than a cameo as the French ambassador. Mischa Auer, too, is particularly good in this film (as he is not always). For once he is not required to pull out his heavy accent and -- surprise! -- he speaks perfectly excellent English! A thoroughly entertaining film, and perhaps if its director hadn't expressed his reservations it would have a better reputation today. In my opinion, it's really stronger and more of a "Lubitsch picture" than most any of the (in my heretical opinion) somewhat overrated Ernst's later efforts, "Heaven Can Wait" and "Cluny Brown", lovely as they are, notwithstanding: this one's a gem. Just released (March 2006) on a Columbia DVD in France. Not the most perfect print, but probably better than any seen in a theater for many, many years. (The French subtitles, on the other hand, can't be turned off, which is fairly inexcusable.) By the way, I watched this movie twice within a span of 24 hours and it was even better the second time. (Since this was written, there has been released in the U.K. a double bill DVD of this with "Margin for Error," Preminger's first film, which makes it something of a bargain, though "Margin" is hardly essential.)

It took A ROYAL SCANDAL for me to realize that Tallulah Bankhead must have been wonderful on Broadway in THE LITTLE FOXES. Here, under Otto Preminger's direction, she gives a wonderfully restrained (for her) performance as Russia's Catherine the Great, shamelessly flaunting her loneliness in front of a man betrothed to another (ANNE BAXTER) but deciding that he looks fabulous in a white uniform (WILLIAM EYTHE).

Bankhead and Eythe are reason enough to watch this one. For once, he had a role that showed he had talent that should have been nurtured into full fledged stardom, but never was. He bears a strong resemblance to Tyrone Power and handles his role with authority and ease.

Bankhead seems on the verge of doing her Diva act at any given moment, but restricts herself to a few "Shut up!" remarks or slyly commenting on the fact that she'd like to do a lot for the peasants. She never misses an opportunity to give any slightly risqué line a clearer meaning, just from the way she glances or moves. It's a wonderfully entertaining performance.

CHARLES COBURN, ANNE BAXTER, SIG RUMAN and others do their parts in fine form, but VINCENT PRICE is wasted in the role of the French ambassador who ends up becoming the new apple of Bankhead's eye. Baxter is particularly good at demonstrating that she could show flashes of temperament beneath the sweetness and charm.

Best of all, the dialog is full of innocently delivered one-liners that make it one of the most enjoyable farces I've seen in years. And WILLIAM EYTHE shows that he had a talent for farce that should have landed him more such roles.

Well worth watching for the performances alone.

I saw this movie over 30 years ago on late night television. I was expecting a dry costume drama, but ended up laughing my head off at one of the classiest comedies I have ever seen. And unfortunately that was it. I have never seen it again, on TV or on video. In fact I don't think it has ever been released on video. Talullah's film appearances were few, and this showed her at her forte, comedy.

Granted, she was also one of the great dramatic actresses of her day (her performance in The Little Foxes on Broadway is considered to be one of the finest of the 20th century), but more marketable actresses always won out over her in Hollywood (she never forgave Bette Davis for stealing the Foxes role from her).

When can a larger audience expect to see this comic gem? (and when can I find out if my childhood memories can stand up to my adult tastes?)

This movie is so hilarious! Normally I don't like modern dialogue attached to a period piece, but I was laughing so hard, I didn't bother with the details. In a highly fictionalized account of Catherine the Great, the audience sees how she manipulates, seduces, wages war, and takes more interest in her champagne than affairs of state.

Tallulah Bankhead plays Mother Russia, a term she hates to hear, since it reflects on her age, and she has a weakness for handsome, young men. She's demanding and wants what she wants when she wants it. Just before she's to meet with the French ambassador, Vincent Price, she meets a devoted soldier William Eythe and prioritizes his youth, handsomeness, and enthusiasm over French-Russian relations. William is engaged to Anne Baxter, and he has no romantic interest in Tallulah, but Mother Russia won't take no for an answer. While her chancellor, Charles Coburn, tries to quietly fix her mistakes behind her back, she rages on in her pursuit of William. Tallulah's timing is impeccable, and as she rattles off one-liners faster than she blinks, you wonder why she retired after such a success. It's such a delight to see her in this movie: selfish, impulsive, calculating, and merciless. "Tell me everything. That's enough."

Sig Ruman costars as one of the empress's generals, secretly planning a revolution. He gets to rattle off just as many one-liners as Tallulah, and it's easy to see why he was so employed as a character actor in the silver screen. He's so funny! "Psst! Don't talk to me," he whispers to one of his co-conspirators.

If you like that type of humor, you'll love this movie. You won't have to keep up with any political issues, and you don't have to remember your history. Just sit back and enjoy the fast-flying barbs!

After seeing a couple of serious dramas concerning the ascension to the throne of Russia of Princess Sophia of Anhalt-Zerbst who has come down in history as Catherine the Great, it was an interesting change to watch A Royal Scandal and see what Tallulah Bankhead did with the Mother of all the Russias.

The two films that I refer to are the ones done in the Thirties that starred Elizabeth Bergner and Marlene Dietrich. Both of those dealt with young Catherine and how in a palace coup she dethroned her husband and as the consort Empress was recognized as the actual ruler. What happens in those two films play very much into what happens in A Royal Scandal.

What a coup accomplishes, another coup can reverse. Catherine is not all that secure on her throne. She's in the midst of a power struggle between her military leaders personified by Sig Ruman and her Chancellor who wants a peace policy capped off with an alliance with France. Chancellor Charles Coburn has even got an ambassador from Louis XV in the person of Vincent Price to seal the deal.

In all this blunders William Eythe an earnest but not terribly bright young guardsman, the kind Catherine the Great was known to fancy. She fancies him a lot, but as she says one must be wary not to put too much trust in handsome men in uniforms.

So we've got a nice little Russian court comedy going with Ruman and Coburn both trying to use Eythe for their own purposes and Bankhead who when Eythe says his sword is at her disposal, she wants to make sure she gets the most use out of it. While all this is going on, Eythe is engaged to Anne Baxter one of Tallulah's ladies in waiting. And she doesn't want a castoff when Bankhead's through with the merchandise.

Coburn comes off really well as the foxy old chancellor who's survived many a palace intrigue by using his wits. Ruman's not bad either and I do love Grady Sutton's brief role as Ruman's idiot son who just wants to go back to the Urals. Sutton's southern accent actually works here as he makes the Urals sound like the Ozarks. Definitely a touch of Ernest Lubitsch.

A Royal Scandal together with Lifeboat, both released in 1945 marked the height of Tallulah Bankhead's all too brief film career. Too few film parts for this stage legend, only the Lunts are worse in that regard. For that reason this bright and witty comedy should be seen and treasured.