Die lustige Witwe

Lana Turner is "The Merry Widow" who goes to Marchovia to see her deceased husband being honored by his homeland. In the meanwhile, she hears Fernando Lamas singing at a party at an inn, where he and the band were staying. They were supposed to greet her at the train's arrival. But, the train was late. What she doesn't know is that the country's king, played by Thomas Gomez, only asked her there, because they are in debt and need financial aid, badly. Or else, another country will invade and make their small country a province. Lamas is, of course, the prince and he is ordered to woo the rich widow. Una Merkel has a memorable role as her companion, and then there's a case of mistaken identity.

I do admit that it kind of feels its age with its obvious corniness. Some may say it is better than "Latin Lovers." But I can see their separate good points."Latin Lovers", I think, comes off better with its well-written dialogue and scenario. But, "The Merry Widow" is much more romantic and is very expressive with the grand score and dance numbers, which is its strength. Also, the good looks and chemistry between the stars help. They were a couple at this point in their careers, and they were very amorous. So I've read here.

All in all, if you want to see Lana and Fernando and love the waltz and the music of "The Merry Widow", then this is for you. I personally watch it every chance I get. After all, like people, if you love them, then you can forgive their flaws. "Say it again." (Inside joke.) After all, like people, if you love them, then you can forgive their flaws. Watch "The Merry Widow" and enjoy, flaws and all!

This 1952 MGM production of Franz Lehar's classic pales in comparison with the Erns Lubitsch's lavish version, that even in black and white, is richer and more appealing to the eye than the later account.

Part of the blame must go to whoever decided to tailor make the film to suit its star, Lana Turner, and the direction of Curtis Bernhardt. As an operetta "The Merry Widow" has been delighting audiences for quite some time. The music alone is worth the price of admission, or in this case, the price of being able to get TCM on cable.

The other interesting thing is how the Technicolor used in the filming of this remake has faded after more than fifty years. The copy shown by TCM recently had a faded look that made it less interesting to watch.

Lana Turner and Fernando Lamas made an attractive couple, but their chemistry doesn't quite make it. Veterans Una Merkel, Thomas Gomez, Richard Haydn, and Marcel Dalio, among others, try their best, but their efforts don't make the film better.

We would strongly advise discerning viewers to check out the older Lubitsch's take on this timeless work.

My wife and I met doing a professional production of "The Merry Widow" in 1982 -- in English, but a straight translation.

Only the very basic skeleton of the original plot is visible in this "adaptation". Most of the characters have been deleted, along with the entire B plot, and all but one of the characters remaining have been renamed. Most of the characters in the movie aren't in the operetta, either. The action has been moved from Paris to, at first, Washington, DC, and then to the fictional country of Pontevedro, which the movie has renamed "Marshovia", and only later to Paris. The net result is that we don't reach the beginning of the original play until about 45 minutes in.

And the main source of tension in the plot is deleted, too. In the original, years before, Count Danilo and the heroine were very much in love, but his family refused to allow them to marry because she was poor; it's his broken heart that has rendered him a careless playboy. Now that, as a widow, she's the richest woman in the world, she still loves him, and he still loves her, but his pride won't let him admit it to anyone, even himself, and she must spend three acts playing mind games to break him down. The trope of the aristocrat with money problems who won't admit that he's in love with a rich woman for fear of what people will think supplied the main plots of a substantial fraction of Viennese operettas for decades after the 1906 "Widow". In this movie, they've never met before, which rips out not only the heart of the whole thing, but nearly all the comedy.

Lamas does a pretty decent job, though.

An interesting musical point is that several times we hear a snippet or so of "Trés Parisien", an extra song written (in English, despite the title) for the London première, which was not, as far as I know, usually found in American productions until the 1980s or so.

In Australia we are still able to see the beautiful MGM musical in a real 1952 vintage 3 strip Technicolor print which is still in very good condition. I saw it last year and apart from a few bumpy reel changes it is very clean and not scratched too much. Lucky us! I know this is not the definitive version purists rave about (that is the 1934 version) but MGM in 1952 was about as technically lush and state of the art perfect as one could want for any musical. In fact MW is is as colorful and as visually lavish as MY FAIR LADY or ON A CLEAR DAY or HALF A SIXPENCE or even the indoor scenes in TITANIC to any modern audience. The Gen x-ers who saw this version were absolutely in awe of how spectacular this REAL Technicolor version is. Lana is amazingly beautiful and Fernando is his virile Latin he man best. The Waltz in the last reel is exquisite. The only irritating bit is the same 'mid-west-Yanks-in-Europe' antics that annoy in LOVELY TO LOOK AT made the same year. However, who really cares when THE MERRY WIDOW is visually astonishing and musically delicious. What a year it was at MGM in 1952! And this much guarded and treasured proper Hollywood 3 strip Technicolor print is staying here, folks! If you wanna see it you have to come visit.

This 1952 version of "The Merry Widow" couldn't possibly compare to the 1934 Lubitsch production, but MGM went all out to make a lavish, colorful film starring Lana Turner and Fernando Lamas. To do so, all of the singing, except for one short section, was taken away from Turner. I guess someone thought a soprano voice coming out of her mouth would seem funny to 1952 audiences, which seems a strange decision. Some stars, like Ava Gardner, were dubbed constantly. Lamas did his own singing in a tremulous tenor. Considering the fact that "The Merry Widow" has been a staple of opera companies for years, it really needs some bigger guns. MGM had them but didn't use them.

"The Merry Widow" is about Crystal Radek (Turner), a wealthy widow living, in this version, in New York, whose husband was from a small country, Marshkovia. She is lured to Marshovia under false pretenses. The country is broke and Count Danilo (Lamas) has been asked to court and marry her so the debts can be paid. Danilo mistakes Crystal's attractive but older friend (Una Merkel) for Crystal and is reluctant to pursue her. Crystal finds out why she has been brought to Marshovia and takes off for Paris. Danilo follows her - still not knowing what she looks like - and she follows him to Maxim's and introduces herself as Fifi, a chorus girl. Danilo falls in love with Fifi, but his country has ordered him to marry Crystal.

This film was nominated for best art direction and best costumes, and no wonder. "The Merry Widow" is absolutely gorgeous, with the most heavenly costumes and sets. Turner looks fabulous and despite the long gowns, gets to show off her legs. Lamas makes a handsome and charming Danilo. As Billy Crystal would say, he looks mahvelous.

The supporting players - Thomas Gomez, Richard Haydn, Maurice Danilo, King Donovan, are all excellent, and if you think you recognize Gwen Verdon among the dancers at Maxim's, you do.

The best part of the film is the waltz toward the end of the film, which is stunning. Hitchcock aficionados will recognize "The Merry Widow Waltz" from "Shadow of a Doubt" and get an eerie feeling every time they hear it - which in "The Merry Widow" is more than once.

When Dore Schary took over MGM in 1951, he considered Lana Turner, at the age of 30, nothing more than an over-the-hill actress. She proved him wrong. Seeing her in "The Merry Widow" is a good indication that Dore Schary needed stronger glasses.