The Royal Bed

Plot

King Anatol XII of a small European kingdom faces a royal crisis as his domineering Queen Martha constantly undermines his authority while their daughter Princess Helene plots to elope with her American boyfriend. Meanwhile, General Kruger schemes to overthrow the monarchy and seize power, exploiting growing unrest among the peasants who are demanding reforms. The hapless king must navigate these political and personal challenges while trying to maintain his dignity and prevent his kingdom from collapsing into chaos. In a series of comedic misadventures, the king eventually outwits both the general and the queen, saves his daughter's romance on his own terms, and manages to quell the peasant revolt through unexpected diplomacy.

Historical Background

The Royal Bed was released in 1931, during the depths of the Great Depression, when audiences sought escapist entertainment to forget their economic troubles. The film's European setting and royal themes provided a fantasy world far removed from the struggles of everyday Americans. This period also saw the transition from silent films to talkies nearly complete, and studios were still experimenting with how to effectively use sound in comedy. The early 1930s marked the rise of political tensions in Europe, with various governments facing instability, which the film's peasant revolt subplot subtly referenced. Hollywood was also adapting to the stricter Hays Code, which would soon be more rigorously enforced, affecting how films could portray royalty and political themes.

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.

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.

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 Critics Said

Contemporary critics generally praised The Royal Bed for its witty dialogue and solid performances, particularly noting Mary Astor's charm and Lowell Sherman's comic timing. The New York Times described it as 'an amusing diversion' with 'sophisticated humor.' However, some critics felt the film was too stage-bound, a common criticism of early talkies adapted from plays. Modern critics viewing the film retrospectively often note its historical value as an example of early sound comedy, though some find the pacing slow compared to later screwball comedies. The film is generally regarded as a competent but not exceptional example of its genre, valued more for its place in film history than for its lasting artistic merits.

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.

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