La veuve joyeuse

When Jeanette MacDonald left Paramount and signed with her new studio of MGM it was her wish that she not do any more films with Maurice Chevalier. Though the three films she did for that studio with him were very successful, the two of them did not get along at all. She thought he was a rake, he thought she was frigid.

So imagine her chagrin when she learned that her first MGM film, The Merry Widow which has some great songs for a soprano she would be co-starred once again with Chevalier. He wasn't exactly thrilled either, it was known he was hoping to do the film with Grace Moore. But they both went back to work for Ernst Lubitsch who had guided them in The Love Parade and One Hour With You. Lubitsch got the best out of them, especially Jeanette. There are some who say her work at Paramount with him is far superior to anything she would do at MGM, even with Nelson Eddy.

Jeanette's the richest woman in the tiny kingdom of Marshovia, her taxes bankroll the kingdom. But she's bored there and cynical about all the men courting her for her money. The king and queen of Marshovia, George Barbier and Una Merkel, want to keep her Marshovian money in Marshovia so they send the most romantic guy they know, captain of the guard Maurice Chevalier as Count Danilo who cuts quite a romantic figure and romantic swath among the ladies.

Of course he falls in love, but he's still got a roving eye and in his own way Maurice is as cynical as Jeanette. It will take some doing to get these two together.

The Merry Widow had its American premiere on Broadway in 1907 and ran for 416 performances. The basic numbers of the score that Franz Lehar wrote are retained. My favorite is one of the best operetta numbers ever written for a soprano, Vilia. Jeanette sings it beautifully as she does the famous Merry Widow Waltz. And who could sing about the joys of courting Girls Girls Girls while hanging out at Maxim's than Maurice Chevalier?

Lubitsch does a grand job at getting some real comic moments out of Edward Everett Horton as the Marshovian Ambassador in Paris who together with Herman Bing. I do so love the scene where Bing is translating the diplomatic codes for Horton with the king's editorial comments.

Chevalier and MacDonald never worked together again, but they certainly went out on a high note (no pun intended) with The Merry Widow.

This film is nothing short of glorious. Before films decided they had to be realistic they had style, and Lubitsch was the style king. Everything about this film is sumptuous and beautiful, and the Oscar winning art direction of Cedric Gibbons and Fredric Hope is truly magnificent. Not bad either are the gowns of Adrian.

MacDonald and Chevalier are excellent together, there is great support from Edward Everett Horton - and who will ever forget the magic scenes between Chevalier and the king and the queen - irresitably played by Una Merkel and George Barbier. The script is witty and a little naughty ("I know what to do with her but I'm too old"), the cinematography breath-taking and the music gorgeous.

But the star of the show is Lubitsch - the mass waltz scene is magnificent, the depiction of MacDonald's mourning clothes (all black - even the dog!) and their transformation into white is astonishing and, just when you think the plot is running out of steam, he gives us an hilarious ending that is unforgettable.

If you ever get a chance to see this on the big screen, run don't walk to the cinema. A perfect 10.

The Monarch of Marshovia sends a romantic count to Paris to woo back THE MERRY WIDOW whose vast wealth is vital to running the tiny kingdom.

Nine years after producing a non-talking film based on the Franz Lehár operetta, MGM mined the same material again, this time as a musical comedy. The Studio would give the film its trademark opulent treatment, with production values of the highest order. Celebrated lyricist Lorenz Hart was engaged to write words for the music. And, to make absolutely certain of success, director Ernst Lubitsch and stars Maurice Chevalier & Jeanette MacDonald were reunited to duplicate their previous triumphs at Paramount Studios.

If, ultimately, the film does not have quite the effervescence of Lubitsch's previous pictures, this is probably understandable. MGM, while wonderful with epics and dramas, often took an unnecessarily heavy-handed approach to subjects which should have been given a lighter, airier treatment. Also, the film was released a few months after the imposition of the Production Code, which obviously had a significant effect upon the movie's final persona.

Chevalier & MacDonald continue the on screen relationship already well established in their earlier films: she, the rather aloof and powerful female who needs a good man; he, the social inferior who wins her with his enormous Gallic charm. Their singing is vivacious & charming and sometimes you can almost understand her words.

Unlike the 1925 version of THE MERRY WIDOW, there is no villain here to provide dramatic tension. The costars, however, provide much comic amusement. Foremost among them is waspish Edward Everett Horton, very funny as Marshovia's nervous Ambassador in Paris. Rotund George Barbier & sprightly Una Merkel make the most of their small roles as the diminutive nation's conniving King and flirtatious Queen.

Some of the smaller roles are also humorously cast: Sterling Holloway as Chevalier's loyal orderly; Donald Meek as the King's gossipy valet; and Herman Bing as Horton's dramatic factotum.

Movie mavens will recognize Akim Tamiroff as the head waiter at Maxim's & Arthur Housman as a drunk (what else?) trying to gain entry into that establishment, both uncredited.

MGM's second version of 'The Merry Widow', this time using the music of Lehar's operetta and starring Jeanette MacDonald and Maurice Chevalier in the roles previously filled by Mae Murray and John Gilbert in the silent movie.

Jeanette MacDonald is a revelation here if you've only seen her in the films which teamed her with Nelson Eddy from 1935 and 1942. Her Sonia is sparky, flirty, and naughty, and naturally in beautiful voice as ever. Maurice Chevalier brings his considerable Gallic charm to the role of Count Danillo, while familiar character faces of the period flesh out the supporting cast (Edward Everett Horton, Donald Meek, Una Merkel, Sterling Holloway).

The film looks sumptuous, with beautiful sets and striking black and white photography. Definitely one of the key musicals of the 1930s.

the music's the thing in this treatment of the light opera favorite. mcdonald was never better, voice and looks. ditto chevalier, acting in a role tailor-made for him. talk about a film having everything...the comedy, handled by old pros, such as sterling holloway, geo. barbier, una merkel, billy gilbert, henry armetta, donald meek, minna gombel. stupendous sets with dance scenes that were a lasting tribute to those who put them together. but as i said, the music, withal, is the thing. chevalier's "girls, girls, girls", "maxim's"; mcdonald's "delia" (was there ever a sweeter, more poignant song?), "merry widow waltz" and three or four other numbers. a truly great film. regrettably enough, mcdonald today is better remembered for the nelson eddy team-ups; personally, i prefer her with chevalier. they made at least four great musicals , the "widow" topping them all.