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IMDbPro

L'Impératrice rouge

Original title: The Scarlet Empress
  • 1934
  • Tous publics
  • 1h 44m
IMDb RATING
7.5/10
7.7K
YOUR RATING
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.
Play trailer2:18
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49 Photos
Period DramaDramaHistoryRomanceWar

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.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.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
    • Manuel Komroff
    • Eleanor McGeary
  • Stars
    • Marlene Dietrich
    • John Lodge
    • Sam Jaffe
  • See production info at IMDbPro
  • IMDb RATING
    7.5/10
    7.7K
    YOUR RATING
    • Director
      • Josef von Sternberg
    • Writers
      • Manuel Komroff
      • Eleanor McGeary
    • Stars
      • Marlene Dietrich
      • John Lodge
      • Sam Jaffe
    • 68User reviews
    • 52Critic reviews
  • See production info at IMDbPro
    • Awards
      • 1 win total

    Videos1

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    Trailer 2:18
    Official Trailer

    Photos49

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    Top cast51

    Edit
    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
    • (uncredited)
    Richard Alexander
    Richard Alexander
    • Count von Breummer
    • (uncredited)
    Nadine Beresford
    • Sophia's Aunt
    • (uncredited)
    • Director
      • Josef von Sternberg
    • Writers
      • Manuel Komroff
      • Eleanor McGeary
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews68

    7.57.7K
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    Featured reviews

    8Philipp_Flersheim

    Over the top, delirious and very good

    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.
    findkeep

    Garishly Ornate, Complex Vision of Surreal Decadence!

    Two gnarled statues of grotesque beasts make love in the garden, a perverse cuckoo clock exposes female bodily organs, a skeletal figure shot through with arrows twists its face in a silent wail towards heaven. This is the decor of "The Scarlet Empress," furnishings which speak more of the film's themes and ideas than the plot could ever be allowed to. The actors remain intentionally wooden; it's as if the world around them was an expression of their suppressed emotions. Shame takes the guise of chairs, but chairs in the shape of gargantuan, deformed old men hiding their stricken faces in hideous fingers. Masochism is occasionally a clock, lust a decorative food display, but all perverse, leering. And death... Everywhere is a ghastly preoccupation with death, icons proudly display decapitation, skeletons stretch themselves over boiling cauldrons, while ghastly statues of tortured corpses lurk in every shadowy corner. Together this creates a world of painful decadence, a disgusting, yet fascinating dreamscape of visual pleasure.

    All this takes form and depth, is sculpted by director Sternberg's haunting lighting. It is "his" light, he lords over it, and with it anything is possible. He can make a face beautiful or ugly, innocent or evil. He can accentuate a certain side of a person's nature, or how a specific set piece relates to it, all with the proper illumination.

    If his lighting is astounding, equally so is Sternberg's use of the visual motifs in his mise en scene (bells, veils, figures, specific set pieces, etc...) to transport the viewer back and forth through the film. For instance, the binding of Catherine and Peter's hands at their marriage is later echoed by an unquestionably similar knot Catherine ties in a napkin she is fondling, and then tosses onto the table of she and Peter's last meal together. The initiation of their marriage and the initiation of its end are in this way linked, and the audience is forced to take into account the changes in both their characters. Not only does the rhythm of these motifs remain figurative. The movement of the film takes on a distinct rhythm as well. A swinging motif is evident throughout, the bells, the incense burners, Catherine's swing, the hoopskirts, a baby's basket, and so on. In this the film takes the feel of a frenzied, but excellently choreographed dance.

    But in all this there is one thing more noteworthy. Marlene Dietrich radiates! Quite possibly the most beautiful woman who ever lived, she begins innocent and virginal (seemingly intentionally melodramatically), standing out in a world of amorality. She is both the happiest and saddest point of the film. Her wedding to the vulgar Peter in an immense, yet claustrophobic cathedral is the most emotional part of the film. As it is filmed entirely in a series of close-ups of individuals, and long shots that blur their faces, there is no discernible eye connection between any of the characters. She is completely alone. As a voyeuristic camera cuts closer and closer to her trembling, veiled face, we suddenly feel the need to turn away. We know now that this last thread of decency is about to be crippled. Soon enough her innocence begins to fade before her sexuality, and the surroundings that once nearly suppressed her, she lords over, a queen of immorality.

    "The Scarlet Empress" expresses the essence of film, and why it succeeds as an art form. It creates the possibility of a world almost wholly artificial, divorced from anything that ever was. It retains only fragmentary reproductions of something that existed in a pre-filmed state, combining and distorting them to effect something 90% fake. What's more that seems all it is interested in. No other artistic medium (aside from painting) is viewed worthy of its visuals, and all theatrical, literary, or other requirements are given little attention. They are flippantly thrown in only to please a narrow minded audience, and occasionally (but very, very rarely) to accentuate the films themes. Yet painting, ah yes, painting. That was a medium worthy of a brilliant visionary like Sternberg, and one he transferred to the screen with gusto. "The Scarlet Empress" is to Dali in its obsession with the bizarre, da Vinci in its detail, Picasso in its complexity of associations, but entirely Sternberg in its conception.
    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.
    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.
    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.

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      Marlene Dietrich's own daughter Maria Riva portrayed young Sophia at the beginning of the film and it was her debut in movies.
    • Goofs
      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.
    • Quotes

      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.

    • Connections
      Edited from Le Patriote (1928)
    • Soundtracks
      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

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    Details

    Edit
    • Release date
      • August 31, 1934 (France)
    • Country of origin
      • United States
    • Language
      • English
    • Also known as
      • The Scarlet Empress
    • Filming locations
      • Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Angeles, California, USA(Studio)
    • Production company
      • Paramount Pictures
    • See more company credits at IMDbPro

    Box office

    Edit
    • Budget
      • $900,000 (estimated)
    • Gross worldwide
      • $3,353
    See detailed box office info on IMDbPro

    Tech specs

    Edit
    • Runtime
      • 1h 44m(104 min)
    • Color
      • Black and White
    • Aspect ratio
      • 1.37 : 1

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