The Merry Widow (silent film)
"The Merry Widow" is a silent film released in 1925, directed by Erich von Stroheim, who also co-wrote the screenplay. This adaptation of Franz Lehár's operetta features Mae Murray as Sally O'Hara, a touring American dancer who navigates romantic entanglements with rival cousins, Prince Danilo and Prince Mirko, amidst the backdrop of the fictional European country of Ruritania. The plot diverges significantly from the original operetta, focusing on themes of revenge and wealth as Sally marries the affluent but unattractive Baron Sadoja, only to later find herself a wealthy widow in Paris where her romantic troubles continue.
Notably, the film is marked by its lavish production values, including an early Technicolor coronation scene. While it was received as an opulent and entertaining film, it reflects the broader trend in 1920s Hollywood where studios prioritized a film's branding over fidelity to the source material. The production faced various controversies, highlighting the creative independence of von Stroheim and the evolving nature of film adaptations during this period. Ultimately, "The Merry Widow" stands as a significant work that influenced subsequent interpretations of the operetta.
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The Merry Widow (silent film)
Identification: A silent film adaptation of the operetta by Viktor Leon and Leo Stein, with music by Franz Lehar
Director: Erich von Stroheim
Date: 1925
The filming of The Merry Widow was marked by controversies among producers, stars, and von Stroheim, one of the finest directors of the period. Nevertheless, the film became immensely popular and influential to later adaptations of the operetta.
Von Stroheim, who cowrote the screenplay with Benjamin Glazer, retained little of the operetta’s original comedy. His title character is Sally O’Hara, a touring American dancer portrayed by Mae Murray. Sally attracts the amorous attentions of rival cousins Prince Danilo (John Gilbert) and Prince Mirko (Roy D’Arcy), heir to the throne of the fictitious European country of Ruritania. Considered unsuitable as a prospective addition to the royal family, Sally chooses to take revenge on those who have snubbed her and marries the repulsive but wealthy Baron Sadoja, the true power behind the throne. Fortunately for Sally, Sadoja soon suffers a seizure and dies. Sally, now a rich widow, goes to Paris, where she again encounters the rival princes. Danilo, who has a title but no money, declares his love, but Sally believes he only seeks her fortune. In the ensuing duel between the cousins, Danilo gallantly fires his pistol into the air instead of shooting his cousin, but Mirko seriously wounds him. While Danilo is recovering, a crippled doorman assassinates Mirko. In short order, Danilo becomes king, Sally’s money is no longer an impediment, and the story ends happily.
Production aspects of The Merry Widow are noteworthy as well. The lavish coronation scene is notable for having been filmed in an early Technicolor process. In another deviation from the original operetta, the film score provides organ music merely as background for the action.
Impact
The Merry Widow of 1925 was hailed as an opulent and entertaining film, but it bears little resemblance to the original operetta. Rather, it is a testimony to the creative independence of a strong-willed film director. In fact, the filming of the 1934 sound remake was delayed for four years because von Stroheim insisted that many elements of the plot belonged to Glazer and himself. The film also shows that, by the 1920s, Hollywood studios making film adaptations were more interested in the work’s title and prestige than in creating a close copy of the original story.
Bibliography
Carey, Gary. All the Stars in Heaven: Louis B. Mayer’s MGM. New York: Dutton, 1981.
Fountain, Leatrice Gilbert. Dark Star: The Untold Story of the Meteoric Rise and Fall of Legendary Silent Screen Star John Gilbert. New York: St. Martin’s Press, 1985.
Koszarski, Richard. Von: The Life and Films of Erich von Stroheim. New York: Limelight Editions, 2001.