It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

lier/Despite this film having the same title as the 1934 Maurice Chevalier and Jeanette MacDonald movie, it bears no real similarity other than the characters names and title. Otherwise, they really are completely unalike. I have no idea if the '34 version has anything to do with the operetta, though apparently the 1925 one only has a passing similarity. John Gilbert plays a Prince in a fictional European nation. His rival is the nasty Roy D'Arcy--his cousin the Crown Prince. Both are army officers and womanizers who both fall for a pretty American (Mae Murray). However, she just finds them both annoying at first. However, Gilbert's charms win her over--and hers win him as well and he decides to marry her--even if Princes are NOT supposed to marry commoners. But on the day of their wedding, Gilbert is a no-show--having been convinced to give up the folly of marrying her. Naturally she is heart-broken and the ULTRA-super creepy Baron (Tully Marshall) offers to marry her. After all, he is a major foot fetishist and she has the most exquisite feet!! Ick! You'd even more icky when you see the aging Marshall who looks a bit like death warmed over! Fortunately for Murray, the new husband dies on their wedding night. I say fortunate because he looked like the type who might eat or strangle her! I mean he is REAAALLY creepy!! Now this lady is now a rich Baroness and quite a welcomed member of royal society.So now that Murray is somebody, what will happen? Will she once again fall for Gilbert's promises and virile ways or will she tell him to get lost? Well, it sure looks like the latter as she now is cozying up to the snake-like Crown Prince--as nasty piece of work he is! Plus, the more Gilbert pursues her, the more she puts him in his place. But, when she announces her plans to marry the Crown Prince, Gilbert goes nuts and attacks him--which leads to them arranging to fight a duel. Will Gilbert survive to win the widow or will he soon be assuming room temperature? Tune in to this film and find out for yourself.The film is exceptionally well made--with gorgeous sets, lovely matte paintings and lots of cool costumes. It's obvious that MGM spared no expense for this production, though I was surprised that Louis B. Meyer allowed Erich von Stroheim to helm this project considering his reputation for waaay over-excess (with his bazillion-reeled epic "Greed" being pared down by an angry studio just a few years earlier). Regardless, the film looked great and was quite enjoyable--one of the better silents I have seen.By the way, at the 127 minute mark, get a load of Murray's headdress--it's a riot.

Merry Widow, The (1925) *** (out of 4) Big-budget version of the classic stage production marked the final time MGM would work with director von Stroheim who was hired on for what was suppose to be a short film but he would take it and mold it into a 137-minute epic of sorts. The story is pretty well known but it centers on an American dancer (Mae Murray) who gets stranded in a small town where she meets a Prince (John Gilbert) who quickly falls for her. The two have many troubles throughout their relationship including the King (George Fawcett) objecting. According to legend, MGM offered von Stroheim a $10,000 bonus if he could shoot this movie in a three week period. Each week he was over that the bonus would be sliced by $2,000. Needless to say, it ended up taking four months to shoot and MGM pocketed any bonus money that was to be given out. Apparently this film nearly brought the studio down but it turned out being a hit and the rest is history. von Stroheim certainly has a very sinister look and atmosphere running throughout the film and this is something I'm not sure would be in future versions. Since this is the first version I've seen I really can't compare it to anything but I'm sure fans of the director or silent film buffs will really eat this film up even if it isn't the masterpiece one would hope for considering the talent involved. The highlight is clearly the visual look of the film, which is quite stunning from the opening shot to the final one. There are all sorts of strange camera set ups including my favorite that happens around the fifty-minute mark as Murray and Gilbert are having dinner and the director keeps the camera in a long shot with the two actors sitting at the very right of the screen, nearly off camera. This is such a strange shot that it can't help but grab your attention and make you take notice. There are countless other great trick shots throughout the film and von Stroheim certainly builds a wonderful atmosphere that is quite thick and at times haunting. The performances by the two leads are very good as well with both playing off one another wonderfully. I thought the romantic aspect of the story was fully believable as both actors perfectly nail the more dramatic parts and Gilbert getting a special notice for some nice comic timing. If I had any problem with the film its the running time as I felt there could have been some trims here and there and nothing would have been lost on the story. Apparently Clark Gable and Joan Crawford are extras in the mammoth ballroom sequence but I was unable to spot them.

Superb film by Erich von Stroheim who "personally directed" this lush and romantic blockbuster starring Mae Murray and John Gilbert.Gilbert plays a European prince who falls for American "danseuse" Murray. Of course his leering cousin the Crown prince (Roy D'Arcy) also has a yen for blonde Murray. The boys clash but Murray prefers Gilbert until he is tricked into jilting her at the altar. She then marries the nation's leading banker (Tully Marshall) who has a foot fetish. He croaks of their wedding night and she becomes "The Merry Widow," a notorious party goer and high liver.The lovers meet again at Maxim's in Paris where Murray pretends to prefer the oozing D'Arcy. Gilbert gets drunk. On a morning horse ride Murray and D'Arcy come across Gilbert sprawled drunk by the roadside. In a fit, Gilbert strikes the loathsome prince and is challenged to a duel. Murray races to the fog-ridden gunfest but Gilbert has already been shot.Von Stroheim, notorious for his excesses in GREED is more constrained with THE MERRY WIDOW but still manages some startlingly decadent touches. Murray is fabulous as a the dancer and gets one whole routine to herself a la Martha Grahame as well as the striking and sensual waltz with Gilbert. Gilbert seethes with masculinity and lust for Murray. They are quite a couple. Von Stroheim gives each star maximum close-ups to great effect. Murray has two grand entrances: one in black gown and diamonds for a royal ball; a second all in white fur cape and feathers for her entrance at Maxim's.The film is highly dramatic, romantic, and sensual but manages touches of humor. A real feast. George Fawcett is the old king; Josephine Crowell is the queen.In 1925 John Gilbert would have been a shoe in for a best actor Oscar between his performances in THE MERRY WIDOW and THE BIG PARADE. Murray would likely have been a best actress contender. Great film.

This is the kind of silent film that is so enjoyable to watch. Huge budget with a great cast. In the climatic dance sequence, where the "Merry Widow" dances, both Clark Gable and Myrna Loy, both unknowns at the time, were extras.