THE SET DESIGN FOR "THE SCARLET EMPRESS"

To prepare for this post I did a Google search for "The Scarlet Empress/set designer" and came up with nothing. I tried a bunch of variations and still came up with nothing, then it finally dawned on me (because I read it): there was no set designer. The director designed the sets. He also did the costumes, the props, the lighting, and the cinematography. I wouldn't be surprised if he collaborated without credit on the writing. Geez. Josef Von Sternberg...what a mench!

[Many thanks to Joel and Romed who found the proper designer credits and listed them in the comments. I still believe, though, that Von Sternberg played a big role in those areas].

Of course the film is remembered as a Marlena Dietrich vehicle, and it is...she's great in it...but this post is about the art direction. I like it, partly because I believe elements of it could easily be incorporated into present day American design. Well, maybe not the two-headed eagle throne (above)...that's here because it looks so cool.

I love traditional Russian architecture. The turrets look Islamic, the flamboyant towers seem to be influenced by India, Oriental Asia, and The Balkans. I even see a little gypsy in them. Of course lots of details are influenced by Western Europe, especially Germany and Scandinavia. What a delightful hodge-podge!

Like Sternberg I'm a big believer in the idea that the perfect interior for a large public building is...another building, like this gazebo (above).  It's a sort of a building within a building. I'll put up more examples below. 

Here's (above) the gazebo from another angle. Nice, huh? How do you like the lighting here? I wish current architects would plan the light fixtures in their houses so they're lit for drama, just like they are in Hollywood movies. Multiple pre-planned lighting possibilities should be hardwired into every new house. Shapes should be added to new buildings just because they cast great shadows.

Here's (above) a Russian cottage exterior influencing the design of a palace interior. This is actually a room inside the palace. It's the building within a building idea again.

Here's (above) a representation of the Devil. Compare it to the dramatic one of a knight below. I love the way the top of the Devil picture fades into the darkness of the ceiling.

This good vs. evil theme (above) and its stylized execution points to the greatness of the Russian soul. Russia suffered immensely in the conflict with Ghengis Kahn and the Mongolians and they believe that suffering gave them a depth that the rest of the world could benefit from.

Nice lighting! That dense, black cross is a powerful symbol. Look at the expressionist sculptures that hold up the candles.

The Czar is strangled to death behind the cross.

How do you like vertical struts (above) holding up the banisters? You can't see them very well here, but they're carved gnomes holding candles.

Here (above) Von Sternberg treats the wooden staircase as an actor and gives it the star treatment. That's what I'd do. Stairs aren't just a conveyance to another floor, they're a powerful romantic symbol which convey aspiration, mystery, and adventure. On the right kind of staircase you do some of your thinking, you propose marriage, you assimilate culture.  Stairs impress by their sheer volume and by their musical rhythms.

For me beautiful, prominent staircases are also a version of the house within a house idea. Von Sternberg's staircase really dominates, in fact it's probably more interesting than the rooms it leads to.

I'll wrap up with this fascinating interview (below) with Von Sternberg from the 60s. It's in two parts; this link only covers the first. They're both worth seeing.

http://www.youtube.com/watch?v=6DX7sll9Gug

Here's (below) the entire film! Be sure to watch it in full screen.

http://www.dailymotion.com/video/xh2n6k_the-scarlet-empress_tv