Surprisingly incoherent and boring

Mostly, the movie is committed to the value of a good time.

It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

After 40 minutes of this film, I still had no idea what was going on. The story is complicated, confusing, slow-paced, uninteresting and full of talking. This is a true story that has had all the interest taken out of it. No wonder the film is forgotten - it's just not at all engaging. This is a terrible shame, especially as the story deals with the ancestors of the current royal family at the time when their ancestry was about to switch to the German lineage. I feel the film-makers have done a huge dis-service to what should have been a fascinating story. What we get is a slow snorefest of no interest with cast members delivering their dialogue in a very deliberately slow-paced manner. The worst offender is Joan Greenwood as Sophie Dorothea. She is terrible. All her dialogue is overdone in a slow, deliberate manner that is totally inappropriate and spoken for dramatic effect without any realism. The film is basically about a doomed love affair. That's how I'd describe it. However, it should be about so much more given the subject matter and significance to the English monarchy. I must tip my hat to fellow reviewer "theowinthrop" who explains the situation perfectly in his review. I suggest you read that for all the interest and knowledge surrounding this topic and forget about this film. You have been warned!

I have always wondered why this movie – which is generally accorded the rank of a minor classic by film critics and historians – is not better known today and more widely discussed; having now watched it for myself, while I would readily proclaim it a near-masterpiece, I can perhaps also pinpoint the reason behind its relative neglect: the thing is that its production company Ealing Studios (whose first color production – and, in hindsight, its costliest flop – it was) is more associated with its celebrated run of droll comedies than with tragic historical romances. Although SARABAND FOR DEAD LOVERS may initially seem to pertain to the "Gainsborough school" of costumers then in fashion in British cinema that were spearheaded by the box-office popularity of THE MAN IN GREY (1943), the film was clearly intended from the outset to be on a higher artistic plane altogether. Co-written by the great Alexander Mackendrick (who would soon go on to direct some of Ealing's finest comedies), the film greatly benefits from Michael Relph's sumptuous décor, Douglas Slocombe's gleaming Technicolor cinematography (that indeed makes one bemoan the fact that Optimum's far from optimally restored R2 DVD does not really do it justice!) and Alan Rawsthorne's majestic score; on top of it all, we have masterful direction (undeniably one of the finest showcases for the distinguished Basil Dearden) and impeccable acting from a splendid roster of actors: Stewart Granger (as the dashing but ill-fated Swedish soldier Konigsmark, SARABAND FOR DEAD LOVERS was reportedly the one film of his he liked best!), Joan Greenwood (a very moving performance as the doomed Princess Sophie Dorothea), Flora Robson (excellent as an unlikely courtesan/king-maker with her own designs on Granger), Francoise Rosay (as the formidably inflexible matriarch), Peter Bull (typically loathsome as the future King George I), Michael Gough (as his martyred younger brother), Frederick Valk (as one of Robson's 'conquests' and Rosay's kin), Anthony Quayle (as Robson's reptilian spy), Megs Jenkins (as Greenwood's empathizing maid), Guy Rolfe (appearing in the opening sequences as one of Greenwood's wardens) – and, allegedly in bit parts, even Peter Arne, John Gregson and Christopher Lee!! Among the various impressively-staged sequences in the film, two particular highlights stand out: a masked Greenwood's panic-stricken passage through a crowd of Carnival revelers being terminated by the sudden appearance of a facially uncovered Granger; and the climactic swordfight in a darkened hall which depicts a wounded Quayle mortally knifing Granger in the back, followed by the latter (having just uttered the name of his beloved Sophie Dorothea with his dying breath) being stomped in the face by a vindictive Robson!

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.

Terrific performances, excellent production values and superb color cinematography highlight this tale of court intrigue, forbidden love and murder. Saraband for Dead Lovers was mentioned by Stewart Granger as one of the few films of his that he was truly proud of, and it's plain to see why. He is terrific as Count Konigsmark, inventor of the famous Colichemarde sword that bears a version of his name, though that isn't even mentioned here. Flora Robson does a great job with a particularly juicy character reminiscent of Glenn Close's character in Dangerous Liasons. In fact, if you liked that film, you'll probably love this one. All the supporting cast are very good, especially Peter Bull and Anthony Quayle. Please someone restore this film and put it out on DVD. Kino? Anyone??