The Royal Bed

About the production

The film was based on the play 'The Royal Bed' by Robert E. Sherwood, which had been a Broadway hit. Lowell Sherman both directed and starred in the film, a common practice during the early sound era. The production utilized elaborate sets to recreate the European royal palace, reflecting RKO's commitment to quality productions during their early years.

Themes

Themes & topics

Historical background

By 1931, The Royal Bed had entered distribution via RKO Radio Pictures, reflecting standard practice for its budget tier.

Why this film matters

Specialists compare The Royal Bed with contemporaries to trace how 1931 cinema handled the hapless king of a small european nation must put up with a domineering queen, a daught.

Making of

The production faced challenges typical of early sound films, including the need for microphones to be hidden in the elaborate palace sets. Lowell Sherman, as both director and star, had to balance his dual responsibilities, often directing scenes between takes while still in costume. Mary Astor, who was dealing with personal issues during this period, delivered a professional performance despite off-set distractions. The film's comedic timing required careful coordination, as the transition from silent to sound comedy meant actors had to adapt their pacing for dialogue scenes. The elaborate royal costumes and sets were designed to give the film a lavish appearance despite RKO's relatively modest budget compared to major studios like MGM or Paramount.

What critics said

Modern notes on The Royal Bed focus on its the hapless king of a small european nation must put up with a domineering queen, a daught rather than any original 1931 sensation.

Did you know?

• This was one of the first films where Lowell Sherman served as both director and star, showcasing his versatility in early Hollywood.
• The film was based on Robert E. Sherwood's Broadway play that had starred Roland Young in the lead role on stage.
• Mary Astor was one of the few actresses who successfully transitioned from silent films to talkies, and this film showcased her talent for dialogue delivery.
• The film was released during the Great Depression, providing audiences with escapist entertainment about royal problems.
• RKO Radio Pictures was relatively new when this film was made, having been established only in 1928.
• The film's European setting was entirely created on Hollywood soundstages, as location shooting was rare during this period.
• Lowell Sherman would die just a few years later in 1934, making this one of his later directorial efforts.
• The film's title was sometimes confused with other royal-themed movies of the era, leading to some marketing challenges.
• This was one of the early sound comedies that successfully blended dialogue with physical comedy elements from the silent era.
• The peasant revolt subplot reflected real political tensions occurring in Europe during the early 1930s.

Visual style

The cinematography by Edward Snyder utilized the static camera techniques common in early sound films, with careful lighting to create the illusion of a European royal palace. The film employed high-key lighting for the royal scenes to create a sense of opulence, while using more dramatic shadows for the revolutionary subplot. Snyder's work demonstrated the challenges of early sound cinematography, where camera movement was limited by the need to keep microphones hidden. The visual style emphasized the theatrical origins of the material, with compositions that resembled stage settings. The film's black and white photography effectively contrasted the luxury of the palace with the simplicity of the peasant scenes.

Innovations

The Royal Bed utilized the RCA Photophone sound system, which RKO had adopted for its sound films. The film demonstrated improved sound recording techniques compared to earlier talkies, with clearer dialogue reproduction and better balance between music and speech. The production employed early techniques for hiding microphones within the elaborate set pieces, allowing for more natural actor movement. The film's editing showed growing sophistication in pacing dialogue scenes, helping establish rhythms that would become standard in film comedy. While not groundbreaking technically, the film represented solid craftsmanship in the evolving art of sound film production.

Music

The film's music was composed by Max Steiner, who would later become one of Hollywood's most celebrated composers. The score included original pieces that evoked European royal court music, along with popular songs of the era. The sound design was typical of early 1930s films, with dialogue recorded using the then-standard microphone-on-a-boom technique. The film made effective use of music to enhance comedic moments and provide emotional underscoring for romantic scenes. As was common in early talkies, the soundtrack featured moments of silence between dialogue exchanges, reflecting the transitional nature of sound recording technology.

Famous quotes

A king must be firm, even when his queen is firmer.

Revolutions are such messy affairs, especially before tea time.

My daughter wants to marry an American? At least he's not a republican.

In this kingdom, the peasants revolt and the royals pout. It's our national pastime.

Memorable scenes

• The throne room scene where the king attempts to assert his authority only to be immediately undermined by the queen's sharp retorts, perfectly encapsulating the film's marital power dynamics. The climactic scene where the king cleverly outwits the scheming general by turning the peasants' demands to his advantage, demonstrating unexpected political acumen. The romantic balcony scene where Princess Helene meets her American lover, combining royal tradition with modern romance in a visually striking sequence.

What audiences thought

Audiences in 1931 responded positively to The Royal Bed, finding it an enjoyable escape from the harsh realities of the Depression. The film's lighthearted approach to royal problems provided the kind of sophisticated entertainment that appealed to adult audiences seeking temporary relief. While it didn't achieve blockbuster status, the film performed respectably at the box office, particularly in urban areas where audiences appreciated the witty dialogue and theatrical references. The chemistry between the leads was well-received, with many viewers enjoying the domestic comedy aspects of the royal family's squabbles. The film's modest success helped establish RKO as a studio capable of producing quality comedies.

Film connections

Influenced by

• The Royal Bed (Broadway play by Robert E. Sherwood)
• The Merry Wives of Windsor (Shakespearean influence on royal comedy)
• The Love Parade (1929 musical comedy about royalty)

This film influenced

• The Love Doctor (1931)
• The Merry Widow (1934)
• Royal Wedding (1951)

Film restoration

The Royal Bed is preserved in the Library of Congress collection and has survived in reasonably good condition. While not commercially available on DVD or Blu-ray, copies exist in film archives and have occasionally been shown at classic film festivals. The film's survival is notable given that many films from this period have been lost, particularly those from smaller studios like RKO in their early years.

Where to watch

• The film is occasionally broadcast on Turner Classic Movies (TCM)
• Available through some classic film streaming services
• Can be viewed at film archives specializing in early sound films
• Rare 16mm copies sometimes circulate among film collectors