The small kingdom of Marshovia has a little problem. The main tax-payer, the wealthy widow Sonia (who pays 52 0f the taxes) has left for Paris So Count Danilo is sent to Paris, to stop her from getting married by a stranger, so that the danger of removing the money is banned.
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None of the subsequent Lubitsch musicals matched the weird, naughty, fizzy energy of The Love Parade, and all of them are dated in their view of love and sex—or is it just that the sexual revolution was so successful that Lubitsch films no longer look so rebellious? But technology was on The Merry Widow's side: this is his most fluid, advanced musical, introducing visual elegance into the sonic merriment.
Not as boisterous or energetic as other Lubitsch/Chevalier collaborations like The Smiling Lieutenant or The Love Parade, but it’s nonetheless charming and has some cheeky pre-code fun, and it’s always great to see how Lubitsch brings sophisticated, mobile camerawork to material like this.
A charming Lubitsch musical comedy with a great pairing of Macdonald and Chevalier. It's not one of his masterpieces, but it has some of his most lyrical moments, like when the camera tracks Macdonald dancing by herself before Chevalier finally stands up to join her.
Du cinéma de premier ordre pour un metteur en scène au meilleur de sa forme et de sa maîtrise. La grâce de Jeanette Mac Donald et la gouaille de Maurice Chevalier font mouche et de nombreux gags sont purement et simplement géniaux. Subtil et tonique... www.cinefiches.com