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	<title>Alt Film Guide &#187; Pordenone Film Festival</title>
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	<description>thinking film</description>
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		<title>Pordenone 2009: THE MERRY WIDOW</title>
		<link>http://www.altfg.com/blog/classics/pordenone-2009-the-merry-widow/</link>
		<comments>http://www.altfg.com/blog/classics/pordenone-2009-the-merry-widow/#comments</comments>
		<pubDate>Sun, 18 Oct 2009 21:21:11 +0000</pubDate>
		<dc:creator>Andre Soares</dc:creator>
				<category><![CDATA[Classics]]></category>
		<category><![CDATA[Classic Movies]]></category>
		<category><![CDATA[Erich von Stroheim]]></category>
		<category><![CDATA[John Gilbert]]></category>
		<category><![CDATA[Mae Murray]]></category>
		<category><![CDATA[Pordenone Film Festival]]></category>
		<category><![CDATA[Silent Films]]></category>
		<category><![CDATA[The Merry Widow]]></category>

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		<description><![CDATA[
Mae Murray shows her legs in The Merry Widow

At The Bioscope: Pordenone Film Festival Day I
&#34;The main event, though, is the Erich Von Stroheim version of The Merry Widow (USA 1925), introduced by Leatrice Joy Fountain and featuring a new  orchestral score by Maud Nelissen. The film itself is almost a  checklist of Von’s obsessions; militaria, aristocrats at play, wedding  processions, grotesques, fetishes and matters of honour; how close it  all is to the source material I’m not qualified to say, but it’s a  superior piece of froth; the score, using Lehar lightly but effectively  matched it to perfection. And every new film I see John Gilbert in, my  perception of him changes; [...]]]></description>
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