Saraband for Dead Lovers **** (1948, Stewart Granger, Joan Greenwood, Françoise Rosay, Flora Robson, Peter Bull, Megs Jenkins) – Classic Movie Review 5058

Directors Basil Dearden and Michael Relph’s attractive 1948 British oddity Saraband for Dead Lovers stars Joan Greenwood as sad young Sophie Dorothea of Celle, the arranged-marriage wife of the effete Prince George Louis of Hanover, the future English King George I (Peter Bull). This beautiful story of doomed romance is imaginatively conjured up from the pages of 17th-century history

History it may be, but the screenplay by John Dighton and Alexander Mackendrick is based on a 1935 romantic novel by Australian author Helen Simpson. However, Saraband for Dead Lovers is noted for its historical accuracy, as well as its lavish, painstaking production. It is notable as the first Ealing Studios film to be shot in colour.

Sophie Dorothea is attracted to the handsome and dashing Swedish soldier of fortune Count Philip Königsmark (Stewart Granger), but he loves the ageing Countess Clara Platen (Flora Robson). However, when Königsmark inevitably falls for Sophie Dorothea, the Countess plots a terrible revenge.

The superlative cast is on fine form – especially the admirable Greenwood and Robson – in an unusual Ealing Studios period romantic drama that packs real punch and has an attractive weird grandeur. The Oscar-nominated production designs by producer Relph and art direction by Jim Morahan and William Kellner are wonderful, and Douglas Slocombe’s muted Technicolor cinematography is a knockout.

It is hardly possible to imagine this kind of romantic tragedy costume drama being done better than this.

A saraband is a slow score composed for a dance, especially Spanish.

It also stars Françoise Rosay as The Electress Sophia, Frederick Valk as The Elector Ernest Augustus, Anthony Quayle as Durer, Michael Gough as Prince Charles, Megs Jenkins as Frau Busche, Jill Balcon as Knesbeck, David Horne as Duke George William and Mercia Swinburne as Countess Eleanore, Cecil Trouncer as Major Eck, and Noel Howlett as Count Platen.

Also in the cast are Barbara Leake as Clara’s maid Maria, Miles Malleson as Lord of Misrule, Anthony Lang as Young Prince George, Rosemary Lang as Young Princess Sophie, Edward Sinclair as Nils and Allan Jeayes as Governor of Ahlden, Guy Rolfe as Envoy at Ahlden, Aubrey Mallalieu as Envoy at Ahlden, Anthony Steel, John Gregson, Sandra Dorne and Barbara Murray.

Christopher Lee landed a role as Duke Anthony von Wolfenbuttel while shooting tests as Granger’s stand-in, but his scene was cut.

Joan Greenwood replaced a pregnant Mai Zetterling.

It was Oscar nominated for Best Art Direction-Set Decoration.

Saraband for Dead Lovers [Saraband] is directed by Basil Dearden and Michael Relph, runs 96 minutes, is made by Ealing Studios, is released by General Film Distributors (UK) and Eagle-Lion Films (US), is written by John Dighton and Alexander Mackendrick, based on a novel by Helen Simpson, is shot in Technicolor by Douglas Slocombe, is produced by Michael Balcon and Michael Relph (associate producer), is scored by Alan Rawsthorne, and is designed by Michael Relph, Jim Morahan and William Kellner.

It was shot between June and October 1947, with exteriors in Prague and Blenheim Palace.

After all the great work, it was a box office disappointment. Did the title put audiences off? Surely not, it is teasingly beautiful.

Stewart Granger recalled: ‘Saraband was a sweet film and it’s one I’m quite proud of. But whereas Gainsborough loved stars, Ealing didn’t like them. The production was the star. Saraband was their first big colour film. I wanted Marlene Dietrich, whom I loved, for Clara. I felt I couldn’t be brutal to Flora Robson. Flora was a great actress, but she’d never been beautiful and it was hard to be cruel to a woman who was never beautiful. That’s why I wanted Dietrich for the part.’

Michael Relph recalled: ‘It was a magnificent looking film, but it wasn’t a success at the time. We were trying to get away from the Gainsborough-type romantic costume picture, which was totally unreal, and to do a serious historical epic. I think the public probably wasn’t ready for it and also it ended up being a bit heavy.’

© Derek Winnert 2017 Classic Movie Review 5058

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