L'imperatrice Caterina

......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.

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.

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.

I intensely dislike films that play fast and loose with the past (for some outstanding examples see my 'Horrible Histories'-list) but 'The Scarlet Empress' does not fall in this category. It is so over the top and so absolutely delirious that you keep wondering what director Josef von Sternberg was smoking while filming it. That is the joy of it. The design of the sets is so bizarre that despite being losely based on actual 18th-century events, any relation to history is lost. 'The Scarlet Empress' has about as much to do with Russia as the kingdom of Rohan has with Anglo-Saxon England. It is a fantasy film, and if you see it as such it is great. Every scene contains new surprises, beginning with the bizzare and very much pre-code torture scene at the start and ending with Catherine's (Marlene Dietrich's) coup d'etat, where she and her soldiers ride into the throne room to music inspired by Wagner's Ride of the Valkyries (more music is based on Tchaikovsky's 1812-Overture (!) and on the tsarist Russian national anthem). That takes me to the quality of the acting. None of the characters is really likeable. For the first half of the film Dietrich plays a naive young girl; once her son is born, she becomes a devious plotter. The transition is not made particularly clear, but her acting is still impressive. Her lantern-jawed love interest is played by John Lodge - not much nuance here, but he is doing well, too. Sam Jaffe did not convince me as Peter III: He looks ridiculous rather than dangerous. Louise Dresser is a good ill-tempered Empress Elizabeth. The upshot is: if you want a dramatization that attempts to stay close to history, watch 'Young Catherine' (1991) with Julia Ordmond and Vanessa Redgrave. If you just want some over the top entertainment, 'The Scarlet Empress' works perfectly.

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.