"The Wedding March" ended with the marriage between Nikki and the crippled Cecilia takes place. Eberle swears to kills the prince unless Mitzi will agree to marry him. She relents, but at ... See full summary »
Peggy and her friend Millie are strolling down Broadway while Jimmy and Mac are trolling Broadway, and the four get together. Jimmy and Peggy get together in many romantic ways and Peggy ... See full summary »
Prince Danilo falls in love with dancer Sally O'Hara. His uncle, King Nikita I of Monteblanco forbids the marriage because she is a commoner. Thinking she has been jilted by her prince, Sally marries old, lecherous Baron Sadoja, whose wealth has kept the kingdom afloat. When he dies suddenly, Sally must be wooed all over again by Danilo.Written by
Supposedly, during a day of viewing rushes, Irving Thalberg asked Erich von Stroheim about a particular behavioral aspect of the character Baron Sadoja, played by Tully Marshall. "That is a foot fetish", replied Stroheim. Thalberg is said to have replied, "You, Von, have a footage fetish!" See more »
Barbasetti wrote two books on the art of fencing; it is questionable that he wrote a widely accepted code on the rules of duels, especially duelling with hand guns. See more »
The version shown on the Turner Classic Movies (TCM) channel has the musical score arranged by Dennis James and performed by him on a Möller pipe organ. It is shown at a proper silent movie speed and runs 137 minutes. See more »
A romantic Prince from tiny Monteblanco attempts to woo THE MERRY WIDOW who once loved him when she was a poor dancer.
Erich von Stroheim, the Teutonic genius who marched through Hollywood's Silent Days like a conquering general, had his final directorial stint at MGM Studios producing this lavish & brilliant film based on the operetta by Franz Lehár. The visuals are striking, with sets that look like actual locations--a mountaintop village; the Castellano Cathedral; Maxim's in Paris--and the occasional bizarre touch--the blindfolded musicians sharing the Prince's seduction bed, for example--which von Stroheim relished. The acting is flawless, with no need for dialogue. The actors' faces speak all that need be said.
Mae Murray & John Gilbert portray the passionate lovers whom Fate (and the plot) contrives to keep apart so successfully. Miss Murray (she and the director loathed each other) powerfully portrays a street-wise performer who, through a series of heartbreaks, becomes a vastly wealthy woman. Gilbert expertly plays a prince whose charm has always gotten him his way. Their scenes together, most particularly the waltz sequences, fairly blaze with unrequited sensual longing and desire.
While it is entertaining to wonder what von Stroheim would have done with the role, it is difficult to imagine anyone better than Roy D'Arcy as the simpering, lusting, sneering Crown Prince; he is pure villainy personified and his eventual fate is absolutely justified. Josephine Crowell gives a fine performance as the Queen. Tully Marshall, one of von Stroheim's favorite character actors, adds another portrait to his gallery of grotesques, this time playing a crippled baron with a foot fetish.
The wonderful organ score which accompanies the film was arranged & performed by Dennis James.
MGM would tackle THE MERRY WIDOW again nine years later and produce a vastly different film, this time directed by Ernst Lubitsch and starring Maurice Chevalier & Jeanette MacDonald.
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