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. (****)
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. (****)