The Merry Widow (1952)

Such a frustrating disappointment

I'll tell you why so serious

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

This 1952 MGM production of Franz Lehar's classic pales in comparison with the Erns Lubitsch's lavish version, that even in black and white, is richer and more appealing to the eye than the later account. Part of the blame must go to whoever decided to tailor make the film to suit its star, Lana Turner, and the direction of Curtis Bernhardt. As an operetta "The Merry Widow" has been delighting audiences for quite some time. The music alone is worth the price of admission, or in this case, the price of being able to get TCM on cable.The other interesting thing is how the Technicolor used in the filming of this remake has faded after more than fifty years. The copy shown by TCM recently had a faded look that made it less interesting to watch.Lana Turner and Fernando Lamas made an attractive couple, but their chemistry doesn't quite make it. Veterans Una Merkel, Thomas Gomez, Richard Haydn, and Marcel Dalio, among others, try their best, but their efforts don't make the film better. We would strongly advise discerning viewers to check out the older Lubitsch's take on this timeless work.

In Australia we are still able to see the beautiful MGM musical in a real 1952 vintage 3 strip Technicolor print which is still in very good condition. I saw it last year and apart from a few bumpy reel changes it is very clean and not scratched too much. Lucky us! I know this is not the definitive version purists rave about (that is the 1934 version) but MGM in 1952 was about as technically lush and state of the art perfect as one could want for any musical. In fact MW is is as colorful and as visually lavish as MY FAIR LADY or ON A CLEAR DAY or HALF A SIXPENCE or even the indoor scenes in TITANIC to any modern audience. The Gen x-ers who saw this version were absolutely in awe of how spectacular this REAL Technicolor version is. Lana is amazingly beautiful and Fernando is his virile Latin he man best. The Waltz in the last reel is exquisite. The only irritating bit is the same 'mid-west-Yanks-in-Europe' antics that annoy in LOVELY TO LOOK AT made the same year. However, who really cares when THE MERRY WIDOW is visually astonishing and musically delicious. What a year it was at MGM in 1952! And this much guarded and treasured proper Hollywood 3 strip Technicolor print is staying here, folks! If you wanna see it you have to come visit.

The script is not terrible, but much of it is simplistic and some of it doesn't make sense. The star soprano's arias have been transposed to the baritone's. She no longer sings the `Vilja' song about the woods maiden and the huntsman; instead he does, to a gypsy girl of that name. The film's biggest drawback is the direction, which is dull and sluggish. But 45 minutes into the movie, when Lana Turner and Una Merkel exchange identities, the pace picks up. What raises the film from 4 (Of Mild Interest) to 5 (Of Some Interest) is Fernando Lamas, appearing in only his third film, his first starring role. He not only is a handsome, dashing, and confident actor, but also has a good sense of comic timing. His warm speaking voice is part of his strength and appeal, and he sings with a very pleasant vibrato and a sophisticated use of dynamics and nuance.The movie lacks 1934's marvelous Ernst Lubitsch touch, not to mention the dark bizarreries of Erich von Stroheim's 1925 silent version. Lana is no match to Jeanette MacDonald as a charming, sophisticated comedienne. Happily in 1934 Jeanette had just arrived at MGM from Paramount and was being guided by the director who understood her best. Her new studio had not yet had a chance to stifle her personality by molding her into an icon. On the other hand, by 1952 MGM had transformed Lana from a sexpot into a lady, as they had done to Norma Shearer in the 1930s and to Greer Garson in the 1940s, squeezing almost all of the juice out of them. But Lana and Lamas were `an item' at the time (the reason he was cast over MGM's original choice, Ricardo Montalban), and their personal affair lends a modicum of interest, too.For the real thing -- Lehár's music done in authentic operetta style -- get the 1953 monaural EMI recording conducted by Otto Ackermann. It features Elizabeth Schwarzkopf as Hanna, baritone Erich Kunz as Danilo, tenor Nicolai Gedda as Camille, and soprano Emmy Loose as Valencienne. Ten years later Schwarzkopf and Gedda repeated their roles in a stereo recording, but the earlier version is better.

This movie is wonderful. You can relax and enjoy a romantic film with one of the most handsome and sensuous leading men in Hollywood history - Fernando Lamas. And Lana Turner is beautiful. The movie allows you to forget about your worries and just enjoy a wonderful, romantic time.