Review: ‘The Merry Widow’

Erich Von Stroheim turns out Mae Murray in the most gorgeous production [adapted from Franz Lehar's operetta] she has yet had. Murray has never previously looked as well as she does before Oliver Marsh's camera. Some of her close-ups are nothing less than superb, while the lighting, practically throughout the entire picture, is a revelation.

Erich Von Stroheim turns out Mae Murray in the most gorgeous production [adapted from Franz Lehar’s operetta] she has yet had. Murray has never previously looked as well as she does before Oliver Marsh’s camera. Some of her close-ups are nothing less than superb, while the lighting, practically throughout the entire picture, is a revelation.

Von Stroheim has eliminated a number of captions by symbolizing. Distinct credits are the freezing of rain upon a window to denote the passing of time, a royal funeral suggested through a corps of muffled drums descending a long flight of stairs, and the brilliant silhouetting of gems adorning Murray to the exclusion of her face and figure when gazed upon by the mercenary Prince.

The Merry Widow

Production

M-G-M. Director Erich von Stroheim; Screenplay Erich von Stroheim, Benjamin Glazer, Marion Ainslee; Camera Oliver T. Marsh; Editor Frank E. Hull; Art Director Cedric Gibbons, Richard Day

Crew

Silent. (Color) Extract of a review from 1925. Running time: 107 MIN.

With

Mae Murray John Gilbert Roy D'Arcy Josephine Crowell George Fawcett Tully Marshall
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