Sarabanda

This is the type of film that shows how one can find interesting small moments in an otherwise rather average film. Buried in the middle of this film is a five minute beautiful example of a montage by rhythm as Joan Greenwood tries to make her way through a chaotic masque ball in order to meet her lover. The sequence climaxes with a series of flash pans and POV shots as we are thrust into the center of the action with the character. The filmmaker inserts fast POV shots of close ups of the masked revelers. The cuts and flash pans are edited rhythmically with the music and make for a wonderful example of a well-executed montage sequence. Show just this sequence to film students.

At a time when Britain was supposed to be flat broke and ordinary people were seemingly as monochrome as the movies they watched, Ealing Studios was churning out classics of all kinds. It's all reversed nowadays. In this case a beautifully crafted and intelligent Mills & Boon in Technicolor and, with my thanks to the knowledgeable commentary of theowinthrop written earlier, the added frisson of apparently being (almost) perfectly true.

Amidst the political machinations of the House of Hanover in its striving for the throne of England 300 years ago, a young and beautiful woman forced to be the wife of the boorish future King falls for a young and dashing Swedish nobleman, and vice versa. While a powerful lady of the court is also passionately in love with the soldier. As always befits our Betters they all know their duty – to power and money, much to the unhappiness of all those only in love. Although initially it may take a few minutes to get into the politics of another world, it's a mesmerizingly told tale with solid emotional acting moving through some colourful luxurious sets and alternating between intense romance and somber intrigue, even a little swash. Of the main stars Stewart Granger was seldom more er masculine and although Joan Greenwood was even more wishy washy than usual it was perfectly played and believable. One thing: did Sophia's letter to her son ever get delivered?

It might be more of a hit with the ladies, but gents too should enjoy it, with or without hankies.

Saraband for Dead Lovers tells the tragic story of Princess Sophia Dorothea of Celle who married Prince George Louis of Hanover most unhappily. Her's is one of the saddest stories concerning royalty ever.

This may have been Joan Greenwood's finest performance on screen. She's really the only decent person in this entire cast. For reasons of politics, she's rushed into a marriage with George Louis and has two children by him, a boy and girl. At the time this is all taking place in the 1680s, there's no reason to suspect that these kids will be nothing more than the Electoral Princes of Hanover in the Holy Roman Empire.

But through their grandmother, played here by the indomitable French actress Francoise Rosay, they are descended from James I, the first king of the United Kingdoms of Scotland and England. She never lets them forget that for a moment.

Actually in fact a whole lot of people in 1689 would have to clear out of the way for Peter to become King of Great Britain. But over the next two decades, that's exactly what did happen. One thing the Hanover clan had going for them, they were firm Protestants and at that point there were too many people in Great Britain who had a vested interest in an unquestioned Protestant succession. It was the Hanoverian ace in the hole.

But before all these events occur Joan Greenwood falls head over heels for the dashing Swedish Count Philip of Konigsmarck as played by Stewart Granger. Granger probably plays Konigsmarck a lot better than he actually was, which was a military man who was not above a little bedroom politics to get what he wanted. Before becoming involved with the younger and more attractive Greenwood, Granger was providing a little nookie on the side to Flora Robson. Robson was the old mistress of the Duke Ernest Augustus played here by Frederick Valk, but the old girl wanted something a little livelier which Granger provided for a few favorable mentions. As in real life Granger moved away when he found something better and Flora reacted with the fury of a woman scorned.

Some of you might recognize a bit of Anna Karennina in this story and I wouldn't be surprised if Count Tolstoy took this story as inspiration when he wrote his epic classic.

Peter Bull and Joan Greenwood are the direct ancestors of the present monarch of the United Kingdom and her family. In 1715 Peter Bull became George I of Great Britain and distinguished himself by never learning to speak one drop of English. In fact all he saw Great Britain as was a cash cow to finance various continental Hanoverian ventures. But the little boy in this film grew up to be George II and so on and so on until Elizabeth II.

For what happens to lovers Granger and Greenwood you have to watch the film for. It's a story that the royals aren't exactly proud of.

An enchanting tale of political marriages and schemes for prestige all at the expense of innocent people. It's a disturbing tale especially when you realize how many women in history must have felt as repressed and lonely as our heroine Sophie Dorothea. But it is a beautiful story of a little stolen happiness. Stewart Granger of course is always dashing in a costume drama. I recommend it for all the lovers of romantic tragedy.

Long before the film was made, I read the book it is based on, namely Konigsmark by A.E.W.Mason. I found the book enthralling and was more than eager to see the film, which turned out to be equally magical, exciting and romantic. To my mind the actors were superbly cast and the sets and costumes so beautifully designed that I felt I was living the events myself and the book and the historical period came vividly to life. I do hope that copies of the film have not been lost and that one day it will reappear perhaps in a remastered form. It is one of the gems of forties' British film-making and deserves to be seen by a present-day audience.