THE MERRY WIDOW d: Ernst Lubitsch

The Merry Widow (1934)
Direction: Ernst Lubitsch
Screenplay: Ernest Vajda and Samson Raphaelson; from Franz Lehár’s operetta
Cast: Maurice Chevalier, Jeanette MacDonald, Edward Everett Horton, Una Merkel, George Barbier, Minna Gombell, Sterling Holloway
 

 
The Merry Widow is not one of Ernst Lubitsch’s most discussed films. Critics generally tend to focus on his early Paramount talkies, such as One Hour with You (co-directed by George Cukor) and Trouble in Paradise, and his later comedies Ninotchka and To Be or Not to Be.
Yet, The Merry Widow is a superior musical, boasting sumptuous sets (production design by Cedric Gibbons), exquisite cinematography (courtesy of Oliver T. Marsh), a magnificently staged ballroom-dancing sequence, witty lines and situations (by Lubitsch collaborators Samson Raphaelson and Ernest Vajda, from Franz Lehár’s operetta), [...]

Best Films – 1937

Robert Taylor, Greta Garbo in Camille
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The Awful Truth
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Lost Horizon
d: Frank Capra; scr: Robert Riskin
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Les Perles de la couronne / Pearls of the Crown
d: Sacha Guitry, Christian-Jacque; scr: Sacha Guitry
The Prisoner of Zenda
d: John Cromwell; scr: Wells Root, John G. Balderstone, Donald Ogden Stewart
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Snow White and the Seven Dwarfs
d: David Hand; scr: Ted Sears, Richard Creedon and others
A Star Is Born
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Best Films – 1934

Norma Shearer in The Barretts of Wimpole Street
FILM
The Barretts of Wimpole Street
d: Sidney Franklin; scr: Ernest Vajda, Claudine West, Donald Ogden Stewart
The Count of Monte Cristo
d: Rowland V. Lee; scr: Philip Dunne, Dan Totheroh, Rowland V. Lee
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Hide-out
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The Merry Widow
d: Ernst Lubitsch; scr: Samson Raphaelson, Ernest Vajda
 

Fredric March, Evelyn Venable in Death Takes a Holiday
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Best Films – 1931

Willi Fritsch and Lilian Harvey in Congress Dances
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Best Films – 1943

Set in a 17th-century Danish village, Carl Theodor Dreyer’s masterful Vredens dag / Day of Wrath is a stark, but deeply felt indictment against religious fanaticism and intolerance. Moving performances by ingénue Lisbeth Modin and accused witch Anna Svierkier add a touch of humanity to the horrors shown on screen. It is not a coincidence that Vredens Dag was made in 1943, a time when Denmark was under Nazi occupation. The parallels — and the interconnectedness — between political and religious control are made quite clear in this harrowing masterwork.
 
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