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L'Impératrice rouge

Titre original : The Scarlet Empress
  • 1934
  • Tous publics
  • 1h 44min
NOTE IMDb
7,5/10
7,7 k
MA NOTE
Marlene Dietrich, Sam Jaffe, and John Lodge in L'Impératrice rouge (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.
Lire trailer2:18
1 Video
50 photos
Drames historiquesDrameGuerreL'histoireRomance

Une noble allemande contracte un mariage sans amour avec l'héritier idiot et instable du trône de Russie, puis complote pour l'évincer du pouvoir.Une noble allemande contracte un mariage sans amour avec l'héritier idiot et instable du trône de Russie, puis complote pour l'évincer du pouvoir.Une noble allemande contracte un mariage sans amour avec l'héritier idiot et instable du trône de Russie, puis complote pour l'évincer du pouvoir.

  • Réalisation
    • Josef von Sternberg
  • Scénario
    • Manuel Komroff
    • Eleanor McGeary
  • Casting principal
    • Marlene Dietrich
    • John Lodge
    • Sam Jaffe
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,5/10
    7,7 k
    MA NOTE
    • Réalisation
      • Josef von Sternberg
    • Scénario
      • Manuel Komroff
      • Eleanor McGeary
    • Casting principal
      • Marlene Dietrich
      • John Lodge
      • Sam Jaffe
    • 68avis d'utilisateurs
    • 52avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 1 victoire au total

    Vidéos1

    Official Trailer
    Trailer 2:18
    Official Trailer

    Photos50

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    + 43
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    Rôles principaux51

    Modifier
    Marlene Dietrich
    Marlene Dietrich
    • Princess Sophia Frederica…
    John Lodge
    John Lodge
    • Count Alexei
    Sam Jaffe
    Sam Jaffe
    • Grand Duke Peter
    Louise Dresser
    Louise Dresser
    • Empress Elizabeth Petrovna
    C. Aubrey Smith
    C. Aubrey Smith
    • Prince August
    Gavin Gordon
    Gavin Gordon
    • Capt. Gregori Orloff
    Olive Tell
    Olive Tell
    • Princess Johanna Elizabeth
    Ruthelma Stevens
    Ruthelma Stevens
    • Countess Elizabeth 'Lizzie'
    Davison Clark
    • Archimandrite Simeon Todorsky…
    Erville Alderson
    Erville Alderson
    • Chancelor Alexei Bestuchef
    Philip Sleeman
    Philip Sleeman
    • Count Lestoq
    • (as Phillip Sleeman)
    Marie Wells
    Marie Wells
    • Marie Tshoglokof
    Hans Heinrich von Twardowski
    Hans Heinrich von Twardowski
    • Ivan Shuvolov
    • (as Hans von Twardowski)
    Gerald Fielding
    • Lt. Dmitri
    Maria Riva
    Maria Riva
    • Sophia as a Child
    • (as Maria)
    Eric Alden
    Eric Alden
    • Lackey #5
    • (non crédité)
    Richard Alexander
    Richard Alexander
    • Count von Breummer
    • (non crédité)
    Nadine Beresford
    • Sophia's Aunt
    • (non crédité)
    • Réalisation
      • Josef von Sternberg
    • Scénario
      • Manuel Komroff
      • Eleanor McGeary
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs68

    7,57.7K
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    Avis à la une

    R Becker

    One more reason the Golden Age of Hollywood was golden...

    Truly one of the greatest films ever made (see the International Film Critics' Top 100 Films list as well). Dietrich was never more luminous, nor cinematography more gorgeous, than in THE SCARLET EMPRESS. It's in black and white, but you'll feel like it's in full and glorious color. History it's not, but who cares? This is the way things should have been.
    gazzo-2

    Luminous black and white ode to Marlene...

    ......I saw this years ago, but some of the images-Marlene on a swing, the charging horsemen, the bits w/ Sam Jaffe and C Aubrey Smith, most certainly stand out. It was definitely the director's way of putting his worship of Marlene on display for all to see, Catherine might as well have been Cleopatra or Eleanor of Aquitaine for all the historical accuracy-ha ha-they use.

    This was a movie about excess as much as anything, curtains that go on forever, huge doors, loud music, etc. They just don't make them like this anymore and certainly couldn't afford to then, either.

    I don't think I ever saw Marlene anymore sensual than in this film, and I agree, her idea of playing a 'poor innocent gal'-that isn't put across well at all. Sometimes you just can't fake it, no matter how hard you try.

    *** outta ****, style over everything.
    jkogrady

    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.
    10waxwingslain77

    Unforgettable! What a visual feast!

    I am a hypocrite; I only like movies which have great dialogue. My hypocritical exception is "The Scarlet Empress." You won't find great dialogue here, but don't fret; to ME, the dialogue is insignificant. This one must be SEEN to be appreciated.

    Director Josef Van Sternberg, dubbed (correctly) "A lyricist of light and shadow" by one critic, proves this point in "Scarlet Empress" more than in any other of his films. Sternberg also knew he was losing Dietrich, and I like one scene where an actor is made up (from a side view) to resemble Sternberg. This actor is essentially the only one Marlene refuses her bed to, despite having no qualms about bedroom antics with half the Russian court. Sternberg projected himself into the role of Count Alexi, a character who has more screen time than anyone other than Dietrich. Alexi is teased by Dietrich and in the end he, um "doesn't get the girl." Sternberg knew he was no longer getting Dietrich and put this knowledge on celluloid with an awe-inspiring, even malicious fire. There are two things in this film which I really LOVE. The grotesque replicas which saturate the film are of course indicative of how the film will play out. The replicas, I suspect, were not easy or inexpensive to make--which makes them all the more fascinating, horrifying and MESMERIZING!

    The background score. I have never seen a drama from the 1930s which used music more brilliantly than "Scarlet Empress." In a scene in a stable, when there is a chance that the two principals may make love, they are interrupted by the braying of a horse, which had been out of sight of the two. (According to many historians, this scene has much, MUCH deeper significance than it seems.) I cannot write what the historians have told to me on this board. It would be inappropriate. But before the horse neighs in that scene, Dietrich is twirling from a rope, and the music in the background lends immense eroticism to the scene, as does a straw which keeps going into and out of Marlene's mouth. The music combined with the beautiful lighting is stunning! There is also an opening torture scene which features a man swinging to and fro inside a huge bell, his head causing the bell to peal. Then, a quick dissolve to an innocent young lady who is flying high on her swing. THAT is a feat of genius!

    If you can ignore some historical inaccuracies, which I suggest you do, and allow yourself to gorge on the beautiful lighting, music, as well as most scenes, I dare you to tell me that the film didn't MESMERIZE you! A TEN!

    This pre-Production code film is a treasure throughout
    10Ron Oliver

    Dietrich & Old Russia - A Fascinating Phantasmagoria on Film

    An innocent & obscure German princess is sent to Russia to become the wife of Grand Duke Peter, heir to the throne. Her romantic dreams are shattered when she finds her new husband to be a childish imbecile. Quickly growing wise, she soon begins taking lovers from among the military guard. So begins the legendary life of Catherine, Tsarina of Holy Russia, The Messalina of the North, THE SCARLET EMPRESS.

    A riotous feast for the eyes, this is one of the great, unheralded films of the 1930's - enthralling for its visual impact alone. Seldom has an American film been filled with such lush imagery - tactile, grotesque, fascinating. The Russian royal palace is a charnel house full of ghouls & gargoyles - human & artistic. The actors share the scenes with fantastic statuary, twisting & writhing in silent, unspeakable pain. (Notice the tiny skeletons on the dining table.) Everywhere is death, moral decay & barbarism, even in the most powerful court in Europe.

    At the center of this ossuary is the gorgeous Marlene Dietrich. Her beauty radiates, but never dominates, throughout the film. She is splendid as a young woman in a very dangerous place, who gains courage & great determination in her ordeal. Equally good is Sam Jaffe as Peter; with his leering grin & demented eyes he is the very picture of a murderous madman.

    Louise Dresser, as the Empress Elizabeth, is very effective as a comic bully. John Lodge & Gavin Gordon, as Catherine's military lovers, are both stalwart. Wonderful old Sir C. Aubrey Smith has a small role as Catherine's princely father. Film mavens will spot an uncredited Jane Darwell as Catherine's nurse.

    The highly emotional soundtrack, an amalgam of themes by Tchaikovsky, Mendelssohn & Wagner, explodes in the film's final moments into musical pyrotechnics.

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    Drames historiques
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    Drame
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    Guerre
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    L'histoire
    Ingrid Bergman and Humphrey Bogart in Casablanca (1942)
    Romance

    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Marlene Dietrich's own daughter Maria Riva portrayed young Sophia at the beginning of the film and it was her debut in movies.
    • Gaffes
      Most of the action takes place at The Kremlin in Moscow. The historical Empress Elizabeth, Grand Duke Peter and later Catherine spent most of their reigns in St. Petersburg, which during the 18th Century was a modern, Europeanized city.
    • Citations

      Grand Duke Peter: Why are those bells ringing?

      [He opens the bedroom door and addresses a man in the hall]

      Grand Duke Peter: Why are those bells ringing?

      Capt. Gregori Orloff: I don't know, Peter.

      Grand Duke Peter: How dare you address me like that! Who are you?

      Capt. Gregori Orloff: My name is Orloff, and I'm on duty as guard.

      Grand Duke Peter: I'll have your head for this insolence! You're addressing the emperor!

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

    • Connexions
      Edited from Le Patriote (1928)
    • Bandes originales
      Symphony No.4 in F Minor, Op.36
      Written by Pyotr Ilyich Tchaikovsky

      Excerpts played during the opening credits and incorporated into the score often

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    FAQ19

    • How long is The Scarlet Empress?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 31 août 1934 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • The Scarlet Empress
    • Lieux de tournage
      • Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Angeles, Californie, États-Unis(Studio)
    • Société de production
      • Paramount Pictures
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 900 000 $US (estimé)
    • Montant brut mondial
      • 3 353 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 1h 44min(104 min)
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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