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The Scarlet Empress

The Scarlet Empress

Drama · History · Romance · 1934

During the 18th century, German noblewoman Sophia Frederica, who would later become Catherine the Great, travels to Moscow to marry the dimwitted Grand Duke Peter, the heir to the Russian throne. Their arranged marriage proves to be loveless, and Catherine takes many lovers, including the handsome Count Alexei, and bears a son. When the unstable Peter eventually ascends to the throne, Catherine plots to oust him from power.

Movie details

The Scarlet Empress

“The Reigning Beauty of the Screen!”

1934 Drama · History · Romance 1h 44m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

During the 18th century, German noblewoman Sophia Frederica, who would later become Catherine the Great, travels to Moscow to marry the dimwitted Grand Duke Peter, the heir to the Russian throne. Their arranged marriage proves to be loveless, and Catherine takes many lovers, including the handsome Count Alexei, and bears a son. When the unstable Peter eventually ascends to the throne, Catherine plots to oust him from power.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Scarlet Empress?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Where it lives

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Names above the title

The people responsible.

Directed by

Josef von Sternberg

Written by

Manuel Komroff · Eleanor McGeary

Marlene Dietrich

Marlene Dietrich

Princess Sophia Frederica / Catherine II

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

Court is in session

Put The Scarlet Empress on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.