I absolutely adore the operetta and this 1934 film is a real pleasure. It is not quite as good as the operetta, which is my favourite operetta of all time alongside Der Fledermaus, but there are so many things to love. The film looks splendid. I personally love the fashions, while the photography is stylish and the sets beautiful. The performances are first rate, Maurice Chevalier is charming and naughty and Jeanette MacDonald is a revelation. The story is told with style and polish, and the script is witty and acerbic. Two things especially made this film work. One is Lehar's music, which is absolutely magnificent, the overture and the music in the waltz scene show a master at work as does the beautiful Vilja. The other is Ernst Lubitsch's brilliant direction, this film has a rather risqué directorial approach that you see in every scene and this worked. Overall, this film is pleasure and if you love classic film or operetta or both(that's where I fit) I recommend you see The Merry Widow. 10/10 Bethany Cox

Jeanette MacDonald,...now that's a star who ONLY would have become famous during one particular cinematic era. By today's standards, her singing is excruciating to listen to despite her being a pretty good actress. Her operatic-type style is, to put it bluntly, horrid--as she hits notes high enough to curdle milk and make babies cry. If you haven't guessed, I'm not one of her biggest fans.

However, apart from Jeanette's horrid singing, I loved the film. Maurice Chevalier makes it so worth watching with his enchanting performance--sort of like a middle-aged version of the same lusty but sweet guy he played in GIGI. Plus, I actually liked his singing--it didn't make my ears bleed.

As for the movie itself, much of its charm is owed to director Lubitsch. He truly had a magical touch when it came to romances and light comedy. This is particularly true in the last 5 minutes of the film--pure Lubitsch magic and about the best 5 minutes you'll ever see on film.

So my final verdict--hit the fast-forward button when Ms. MacDonald sings and you'll love this picture.

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.