I like the storyline of this show,it attract me so much

Gripping story with well-crafted characters

Absolutely brilliant

By the time the dramatic fireworks start popping off, each one feels earned.

Lana Turner is "The Merry Widow" who goes to Marchovia to see her deceased husband being honored by his homeland. In the meanwhile, she hears Fernando Lamas singing at a party at an inn, where he and the band were staying. They were supposed to greet her at the train's arrival. But, the train was late. What she doesn't know is that the country's king, played by Thomas Gomez, only asked her there, because they are in debt and need financial aid, badly. Or else, another country will invade and make their small country a province. Lamas is, of course, the prince and he is ordered to woo the rich widow. Una Merkel has a memorable role as her companion, and then there's a case of mistaken identity.I do admit that it kind of feels its age with its obvious corniness. Some may say it is better than "Latin Lovers." But I can see their separate good points."Latin Lovers", I think, comes off better with its well-written dialogue and scenario. But, "The Merry Widow" is much more romantic and is very expressive with the grand score and dance numbers, which is its strength. Also, the good looks and chemistry between the stars help. They were a couple at this point in their careers, and they were very amorous. So I've read here.All in all, if you want to see Lana and Fernando and love the waltz and the music of "The Merry Widow", then this is for you. I personally watch it every chance I get. After all, like people, if you love them, then you can forgive their flaws. "Say it again." (Inside joke.) After all, like people, if you love them, then you can forgive their flaws. Watch "The Merry Widow" and enjoy, flaws and all!

In Australia we are still able to see the beautiful MGM musical in a real 1952 vintage 3 strip Technicolor print which is still in very good condition. I saw it last year and apart from a few bumpy reel changes it is very clean and not scratched too much. Lucky us! I know this is not the definitive version purists rave about (that is the 1934 version) but MGM in 1952 was about as technically lush and state of the art perfect as one could want for any musical. In fact MW is is as colorful and as visually lavish as MY FAIR LADY or ON A CLEAR DAY or HALF A SIXPENCE or even the indoor scenes in TITANIC to any modern audience. The Gen x-ers who saw this version were absolutely in awe of how spectacular this REAL Technicolor version is. Lana is amazingly beautiful and Fernando is his virile Latin he man best. The Waltz in the last reel is exquisite. The only irritating bit is the same 'mid-west-Yanks-in-Europe' antics that annoy in LOVELY TO LOOK AT made the same year. However, who really cares when THE MERRY WIDOW is visually astonishing and musically delicious. What a year it was at MGM in 1952! And this much guarded and treasured proper Hollywood 3 strip Technicolor print is staying here, folks! If you wanna see it you have to come visit.

The script is not terrible, but much of it is simplistic and some of it doesn't make sense. The star soprano's arias have been transposed to the baritone's. She no longer sings the `Vilja' song about the woods maiden and the huntsman; instead he does, to a gypsy girl of that name. The film's biggest drawback is the direction, which is dull and sluggish. But 45 minutes into the movie, when Lana Turner and Una Merkel exchange identities, the pace picks up. What raises the film from 4 (Of Mild Interest) to 5 (Of Some Interest) is Fernando Lamas, appearing in only his third film, his first starring role. He not only is a handsome, dashing, and confident actor, but also has a good sense of comic timing. His warm speaking voice is part of his strength and appeal, and he sings with a very pleasant vibrato and a sophisticated use of dynamics and nuance.The movie lacks 1934's marvelous Ernst Lubitsch touch, not to mention the dark bizarreries of Erich von Stroheim's 1925 silent version. Lana is no match to Jeanette MacDonald as a charming, sophisticated comedienne. Happily in 1934 Jeanette had just arrived at MGM from Paramount and was being guided by the director who understood her best. Her new studio had not yet had a chance to stifle her personality by molding her into an icon. On the other hand, by 1952 MGM had transformed Lana from a sexpot into a lady, as they had done to Norma Shearer in the 1930s and to Greer Garson in the 1940s, squeezing almost all of the juice out of them. But Lana and Lamas were `an item' at the time (the reason he was cast over MGM's original choice, Ricardo Montalban), and their personal affair lends a modicum of interest, too.For the real thing -- Lehár's music done in authentic operetta style -- get the 1953 monaural EMI recording conducted by Otto Ackermann. It features Elizabeth Schwarzkopf as Hanna, baritone Erich Kunz as Danilo, tenor Nicolai Gedda as Camille, and soprano Emmy Loose as Valencienne. Ten years later Schwarzkopf and Gedda repeated their roles in a stereo recording, but the earlier version is better.

This movie is wonderful. You can relax and enjoy a romantic film with one of the most handsome and sensuous leading men in Hollywood history - Fernando Lamas. And Lana Turner is beautiful. The movie allows you to forget about your worries and just enjoy a wonderful, romantic time.