Scanialara You won't be disappointed!

Marketic It's no definitive masterpiece but it's damn close.

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.

lugonian THE MERRY WIDOW (Metro-Goldwyn-Mayer, 1934), produced and directed by Ernst Lubitsch, is a musical-comedy based on the 1905 operetta by Franz Lehar, though the movie is more Lubitsch than Lehar. Marking the fourth and final screen collaboration of Maurice Chevalier and Jeanette MacDonald, and their only one together for MGM, many rate this their very best. Although their previous efforts for Paramount: THE LOVE PARADE (1929); ONE HOUR WITH YOU (1932) and LOVE ME TONIGHT (1932) have their own style of significance and flavor, depending on one's choice of favorites, THE MERRY WIDOW at times seems more like THE LOVE PARADE with more extravagance and gloss than the Paramount productions. Lubitsch, who happened to direct their first two, offers more in regards of familiarity in witty comedy along with some surprising twist of events, yet slightly disappoints in regards to brief song passages rather than satisfactory five minutes or more of tuneful melodies.The story opens in "The Kingdom of Marshovia in the year 1885," a Central European country north of Roumania (so small it's found as a dot on the map through a magnifying glass) where Madame Sonia (Jeanette MacDonald), a widow wearing black gown with veil over her eyes, is spotted by Captain Danilo (Maurice Chevalier), an officer of the royal guard marching down the street with the other soldiers. A popular ladies man, Danilo bribes guards and dog (with food, of course) to climb over the garden wall to make the acquaintance with the widow to receive the answer of "if" and "when" they should meet again. Sonia shows no interest in the conceded young man and sends Danilo on his way. Through the passage of time, Sonia finds her diary with nothing posted, and decides that there's "a limit to every widow" by leaving Marshovia for the merry life in Paris. Being the richest widow in the world and controlling 52 percent of Marshovia's financial security, King Achmet (George Barbier) submits Danilo, having caught him alone in the boudoir of his very young wife, Queen Dolores (Una Merkel), to Paris with instructions to romance the merry widow Sonia and bring her back to Marshovia. Unaware of her identity, it so happens Danilo has already made the acquaintance of Sonia at Maxim's, under her guise of Fifi. After Fifi leaves him, Danilo disappears on a drunken binge. After being brought to Popoff (Edward Everett Horton), ambassador of Marshovia of diplomatic relations, he sobers him up to resume his mission with Sonia, whom, to his surprise at the Embassy Ball, turns out to be Fifi from Paris. Situations occur later that find Danilo facing a court martial and other series of unforeseen events.The motion picture soundtrack is as follows: "Girls, Girls, Girls" (sung by Maurice Chevalier); "Vilia," "Tonight Will Teach Me to Forget," "The Merry Widow Waltz" (all sung by Jeanette MacDonald); "I'm Going to Maxim's" (sung by Chevalier); "The Merry Widow Waltz" (MacDonald); "I'm Going to Maxim's" (Chevalier); "Can-Can Dance," "Girls, Girls, Girls" (Chevalier); "The Merry Widow Waltz," "I Leave Maxim's to You," "Widows Are Gay," and "The Merry Widow Waltz." Of the song interludes, the most memorable happens to be "The Merry Widow Waltz" with numerous couples dancing down the hallway of mirrors. Chevalier and MacDonald dance briefly in a couple of scenes which make one wish for some more of the same. Other members in the cast of thousands include Minna Gombelle (Marcelle); Sterling Holloway (Mischka, Danilo's Orderly); Ruth Channing (Lulu); Donald Meek (The Valet); Herman Bing (Zixipoff); Henry Armeta and Akim Tamiroff.Previously filmed by MGM (1925) starring Mae Murray and John Gilbert, under the direction of Erich Von Stroheim, this MERRY WIDOW is totally different from the original silent screen adaptation, yet more faithful to the 1934 sound adaptation when remade once more by MGM (1952), adding lavish Technicolor starring Lana Turner, Fernando Lamas and Una Merkel (in a different character role of Kitty Kiley), this 1934 edition is most memorable due to the Franz Lehar melodies and its fine cast. Because of the latter remake, the 1934 edition was sold to television with a new title of "The Lady Dances" The original title at 99 minutes was later restored when distributed to video cassette/DVD and cable television's Turner Classic Movies.Though MacDonald was to have much more success at MGM (1934-1942, 1948), especially her eight film pairing opposite Nelson Eddy, Chevalier would resume his career in European cinema before returning to Hollywood in the late 1950s, with his most memorable role being the 1958 Best Picture winner of GIGI. Yet this is Chevalier and MacDonald at their prime and THE MERRY WIDOW being an exceptional operetta for them to end their partnership as a motion picture screen team. Have a merry time with this one. (****)

Cyke 114: The Merry Widow (1934) - released 10/11/1934, viewed 9/3/08.DOUG: Criterion just released a Lubitsch box set featuring his sound musicals prior to Trouble In Paradise. Awesome. Now we need one with his work following Paradise, including this lavish piece. Lubitsch favorites Maurice Chavalier and Jeanette MacDonald appear in their last film together; once again she plays a lonely aristocrat, and once again he plays an officer intent on wooing her. This one, however, spares no expense on the costumes, sets, and extras. The always-reliable Edward Everett Horton is also around to pull his weight in a supporting role. For all its loveliness, Lubitsch is in danger of becoming routine, but I don't want that to sound bad; Lubitsch was one of Hollywood's most prolific and most reliable imports at this time, and this is a solid example to be sure. Like all of Lubitsch's best work, this is filled with crackling innuendo and great chemistry, along with lots of fun little moments sprinkled throughout. Overall, though the elements are familiar, everyone is at the top of their game. Definitely recommended, if you can get your hands on it.KEVIN: After powering through all of Ernst Lubitsch's pre-Code essentials, his latest foray feels kinda routine. In a good way though, not unlike going to your favorite restaurant and ordering your favorite dish that you always order, and getting it served just the way you like it. Chevalier plays another playboy in uniform, and MacDonald, with more big, frilly dresses than ever, is another lovelorn upper-class socialite (here the titular obscenely wealthy widow), and the fate of a cash-strapped kingdom depends on their hooking up. Considering that the plot hinges on their union, the film seems to spend copious amounts of time building up to their meeting. Lubitsch regular George Barbier is memorable as the king, but supporting players Edward Everett Horton and Una Merkel are here and gone far too quickly. As enjoyable as this classic is, I can't help wondering if I would appreciate this movie more if I hadn't seen so much of it before.Last film: Cleopatra (1934). Next film: The Gay Divorcée (1934).

netwallah Based loosely on the operetta by Franz Lehár, this Ruritanian confection has some of the original music—notably the waltz, and "Meet Me at Maxim's—both as musical numbers and leitmotifs. The tiny kingdom of Marshovia is in trouble—its principal citizen, the wealthy widow Sonja (Jeanette MacDonald)—who, heavily veiled, has attracted the attention of Count Danilo (Maurice Chevalier)—has cast off her black clothes and gone to Paris. The King sends Danilo to Paris to marry her so her fortune won't leave the kingdom. Sonja is already smitten, and goes to Maxim's to see him. He hasn't seen her face, and accepts her as "Fifi." She declines his advances in a private dining room, saying she prefers truth to lies, and she leaves. He goes to the embassy to be presented to the woman he must marry, and the nervous ambassador Popoff (Edward Everett Horton) introduces them. Okay, but she gets wind of the plot and calls the union off. Danilo manages to win her back. There is a great deal of singing, and some rather luscious waltz scenes where maybe a hundred couples swoop through a colonnaded ballroom. Chevalier maintains his usual charm even though the part—a man no woman can resist, and about whom no woman is jealous of another, and whose leaving they accept perfectly cheerfully—is tripe. He throws back his head and laughs. As a musical it can succeed only if you like Jeannette MacDonald and her fluttery soprano voice and the swoopy big orchestral productions behind her. No really memorable tunes except the great Lehár waltz. Oh, and Marshovia is a mess—it's sort of Slavic and sort of Islamic (the king is named Achmet) and sort of feudal and backward, and yet the palaces are vast. Mme. Sonja's bedroom looks about the size of a hockey arena in a populous city; if there's a vase, you can bet it is twelve feet high and made of marble, and if there's a bed, you can bet that there's room for milady and all her household staff, including the Russian wolfhound they forgot to throw in. This is a stupid movie of the sort one rather enjoys in spite of one's better judgment.

jenn976-1 Interesting treatment of Lehar's "Merry Widow", almost 30 years after "Die Lustige Witwe" premiered in Vienna. There were many versions of The Merry Widow but this particular story is all jumbled up from the original. It's supposed to open in Paris but instead, we're in Marshovia which gives us a very slow opening. The English translation is by the screenplay writers, Vajda and Raphaelson and the lyrics are by Rodgers and Hart. Don't expect a true-to-the-original story. This story adaptation is okay although the original is charming by itself. However, the actors are very good and funny. The biggest song of the original, "Vilja", is very out of place right at the beginning and seems to have lost its charm by its placement. The widow of the original story is much more innocent - they cast her as a bit strident here. However, it is nice to see a movie that is pre-code. The costumes and the sets are sumptuous and beautiful. Chevalier and MacDonald are very good and Edward Everett Horton is a thorough delight.