THE MERRY WIDOW
US, 1925, 137 minutes, Black and white.
Mae Murray, John Gilbert, Roy D' Arcy, Tully Marshall.
Directed by Eric von Stroheim.
The Merry Widow has been very popular from the beginning of the 20th century.This version is based on the play by Viktor Leon and Leon Stein, and adapted by the director, Eric von Stroheim. Von Stroheim was famous for lavish productions, big budgets, with such films as Greed, Foolish Wives, Blind Husbands, Wedding March. He was also an actor, most significantly as the butler with Gloria Swanson in Sunset Boulevard.
Though the film is silent, one of the advantages of this print is that the music for the operetta, The Merry Widow, by Franz Lehar, is incorporated into the accompaniment.
In 1934, the story was adapted for Jeanette Mac Donald and Maurice Chevalier and 25 years later as a lavish colour production for Lana Turner and Fernando Lamas.
The basic plot concerns an eastern European country with a monarchy – and a date on a program indicates 1923 so that the story is contemporary. In the aftermath of World War I, while the king and queen reign, the kingdom is dependent on a baron and his finances. The Crown Prince is something of a fascist in his behaviour but also a leering womaniser. He is played with some exaggeration by Roy D’ Arcy. However, his cousin, Count Danilo, is played by John Gilbert, very popular at the time in silent films but, unfortunately, unable to make the transition to sound films because of his voice.
He is dashing – but, at the beginning of the 21st century, he also seems a leering and aggressive womaniser who would be charged with sexual harassment. but, it seems that these are the accepted customs of the time.
The subject of attraction is an American showgirl, Sally, played with verve by Mae Murray, including some dance routines and quite a variety of costumes. Travelling in Europe with her troupe, she is approached by the Crown Prince and The Count, resisting both but falling in love with the Count. In getting ready to marry him, she finds she is left at the altar, in the wedding dress, because the Crown Prince has poisoned the mind of the Count.
The financial baron, with walking sticks, is also something of a leering personality but courts Sally and she marries him – only for him to die on the wedding night. With his fortune, she becomes “the Merry Widow” and goes on to tour with performances at Maxime’s in Paris.
Eventually the Count arrives in Paris, Sally is antagonistic towards him, he defends her and is called to a duel by the Crown Prince, not firing his gun and allowing himself to be shot – but, he survives, with Sally relenting for a happy ending.
