Scarlett Empress (1934)

Sternberg’s Russian palace is an mixture of overarching religious art underlined by grotesque twisted gargoyles.

Most scenes of this film feature inside the walls of Peter’s palace- the sets of such being filled with oversized and overbearing pieces of furniture. A theme that runs constant is characters being surrounded and loomed over by warped almost deformed statues. The use of such, creates an atmosphere of discomfort and a sense of Sophia being trapped. The extent of this use stretching as far as gargoyles making up the very frame of mirrors and beds, further adding to this feeling of the walls themselves listening. These manipulated forms also feature in much of the religious iconography suggesting its purity being tainted be exploiting its power for personal gain by the Russian monarchy. It is also key to note Sophia’s throne on successfully performing the coup, the great wing span of a 2 headed eagle towering over her making up its form. Not only does this exert her power over her peers of whom still sit upon the seats made up the demented statues but also adds a aspect of religious imperialism. The further use of interior sets dwarfing the characters adds to this feeling of Sophia’s fragility in the situation, her body language taking more and more control of these extensive spaces as she grows in confidence and authority.