Konterr Brilliant and touching

Pacionsbo Absolutely Fantastic

DipitySkillful an ambitious but ultimately ineffective debut endeavor.

Adeel Hail Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Michael_Elliott Merry Widow, The (1925) *** (out of 4) Big-budget version of the classic stage production marked the final time MGM would work with director von Stroheim who was hired on for what was suppose to be a short film but he would take it and mold it into a 137-minute epic of sorts. The story is pretty well known but it centers on an American dancer (Mae Murray) who gets stranded in a small town where she meets a Prince (John Gilbert) who quickly falls for her. The two have many troubles throughout their relationship including the King (George Fawcett) objecting. According to legend, MGM offered von Stroheim a $10,000 bonus if he could shoot this movie in a three week period. Each week he was over that the bonus would be sliced by $2,000. Needless to say, it ended up taking four months to shoot and MGM pocketed any bonus money that was to be given out. Apparently this film nearly brought the studio down but it turned out being a hit and the rest is history. von Stroheim certainly has a very sinister look and atmosphere running throughout the film and this is something I'm not sure would be in future versions. Since this is the first version I've seen I really can't compare it to anything but I'm sure fans of the director or silent film buffs will really eat this film up even if it isn't the masterpiece one would hope for considering the talent involved. The highlight is clearly the visual look of the film, which is quite stunning from the opening shot to the final one. There are all sorts of strange camera set ups including my favorite that happens around the fifty-minute mark as Murray and Gilbert are having dinner and the director keeps the camera in a long shot with the two actors sitting at the very right of the screen, nearly off camera. This is such a strange shot that it can't help but grab your attention and make you take notice. There are countless other great trick shots throughout the film and von Stroheim certainly builds a wonderful atmosphere that is quite thick and at times haunting. The performances by the two leads are very good as well with both playing off one another wonderfully. I thought the romantic aspect of the story was fully believable as both actors perfectly nail the more dramatic parts and Gilbert getting a special notice for some nice comic timing. If I had any problem with the film its the running time as I felt there could have been some trims here and there and nothing would have been lost on the story. Apparently Clark Gable and Joan Crawford are extras in the mammoth ballroom sequence but I was unable to spot them.

hcoursen I know that the film suffered from directorial changes back and forth, with Stroheim fired, replaced by Monte Blue, then rehired. The direction is the problem here. The film wanders, boringly and aimlessly, until Gilbert's love for Murray is suddenly kindled in the seduction scene. Suddenly Murray shows us that she can act and Gilbert's pop-eyed stare finds a purpose. Until then, the film has been a series of vaguely related scenes, fading out in what becomes a predictable mannerism. Then, it picks up pace. Gilbert's leaving Murray at the altar (actually in her room all dressed up in her gown) is implausible, as is his later belief that she really prefers the constantly leering Crown Prince D'Arcy. (Didn't his face hurt after a while?). But the duel scene is gripping and the suspension of its outcome effective. Lehar's score, as played and played by the organ, became a bit repetitive. But it called attention to itself primarily because a lot of the film should have tasted the cutting room floor. This one needed a ruthless editing. The scenes in which the king and queen pry apart the enraged cousins, Gilbert and D'Arcy,are hilarious however. I don't think, though, that they were meant as farce.

drednm Superb film by Erich von Stroheim who "personally directed" this lush and romantic blockbuster starring Mae Murray and John Gilbert.Gilbert plays a European prince who falls for American "danseuse" Murray. Of course his leering cousin the Crown prince (Roy D'Arcy) also has a yen for blonde Murray. The boys clash but Murray prefers Gilbert until he is tricked into jilting her at the altar. She then marries the nation's leading banker (Tully Marshall) who has a foot fetish. He croaks of their wedding night and she becomes "The Merry Widow," a notorious party goer and high liver.The lovers meet again at Maxim's in Paris where Murray pretends to prefer the oozing D'Arcy. Gilbert gets drunk. On a morning horse ride Murray and D'Arcy come across Gilbert sprawled drunk by the roadside. In a fit, Gilbert strikes the loathsome prince and is challenged to a duel. Murray races to the fog-ridden gunfest but Gilbert has already been shot.Von Stroheim, notorious for his excesses in GREED is more constrained with THE MERRY WIDOW but still manages some startlingly decadent touches. Murray is fabulous as a the dancer and gets one whole routine to herself a la Martha Grahame as well as the striking and sensual waltz with Gilbert. Gilbert seethes with masculinity and lust for Murray. They are quite a couple. Von Stroheim gives each star maximum close-ups to great effect. Murray has two grand entrances: one in black gown and diamonds for a royal ball; a second all in white fur cape and feathers for her entrance at Maxim's.The film is highly dramatic, romantic, and sensual but manages touches of humor. A real feast. George Fawcett is the old king; Josephine Crowell is the queen.In 1925 John Gilbert would have been a shoe in for a best actor Oscar between his performances in THE MERRY WIDOW and THE BIG PARADE. Murray would likely have been a best actress contender. Great film.

Pat-54 This is the kind of silent film that is so enjoyable to watch. Huge budget with a great cast. In the climatic dance sequence, where the "Merry Widow" dances, both Clark Gable and Myrna Loy, both unknowns at the time, were extras.