Pordenone 2009: THE MERRY WIDOW

Mae Murray shows her legs in The Merry Widow

At The Bioscope: Pordenone Film Festival Day I
"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; [...]

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 – 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
The Gay Divorcee
d: Mark Sandrich; scr: George Marion Jr., Dorothy Yost, Edward Kaufman
Hide-out
d: W. S. Van Dyke; scr: Albert Hackett, Frances Goodrich
The Merry Widow
d: Ernst Lubitsch; scr: Samson Raphaelson, Ernest Vajda
 

Fredric March, Evelyn Venable in Death Takes a Holiday
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Broadway Bill
d: Frank Capra; scr: Robert Riskin
Death Takes a Holiday
d: Mitchell Leisen; scr: Maxwell Anderson, Gladys Lehman
Gold
d: Karl Hartl; scr: Rolf E. Vanloo
Here Comes the Navy
d: Lloyd Bacon; scr: Earl Baldwin, Ben Markson
Maskerade / Masquerade in Vienna
d: Willi Forst; scr: [...]

Best Films – 1925

Ramon Novarro and May McAvoy in Ben-Hur: A Tale of the Christ
 
FILM
Ben-Hur
d: Fred Niblo (assisted by Christy Cabanne, Alfred L. Raboch, B. Reeves Eason); scr: Carey Wilson, Bess Meredyth, June Mathis; titles: Katherine Hilliker, H. H. Caldwell
The Big Parade
d: King Vidor; scr: Laurence Stallings, Harry Behn; titles: Joseph W. Farnham
Her Sister from Paris
d: Sidney Franklin; scr: Hans Kräly
Lady Windermere’s Fan
d: Ernst Lubitsch; scr: Julien Josephson; titles: Maude Fulton, Erik Yorke
The Merry Widow
d: Erich von Stroheim; scr: Benjamin Glazer, Erich von Stroheim; titles: Marian Ainslee
 

Battleship Potemkin
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Bronenosets Potyomkin / Battleship Potemkin
d: Sergei Eisenstein; scr: Nina Agadzhanova, Sergei Eisenstein; titles: Nikolai Aseyev, Sergei Tretyakov
 

Renée Adorée, John Gilbert in The Big Parade
ACTOR
John Gilbert
The Big Parade
 

Constance Talmadge, Ronald [...]

HOLLYWOOD DREAMS MADE REAL: IRVING THALBERG AND THE RISE OF M-G-M – Q&A with Mark Vieira

Author and photographer Mark A. Vieira (right), who’s been a friend for a number of years, has recently written no less than two books on Irving G. Thalberg, the young MGM mogul whose high-quality productions earned him both a reputation as Hollywood’s "Boy Wonder" and a special place in Oscar history as the name attached to the Academy of Motion Picture Arts and Sciences‘ Memorial Award given to “creative producers whose bodies of work reflect a consistently high quality of motion picture production.” Thalberg even inspired a F. Scott Fitzgerald novel, the unfinished The Last Tycoon.
Now, Mark’s two books may cover the same ground in terms of subject matter, but they’re radically different in terms of approach to same:
Hollywood [...]