The Merry Widow (1934 Ernst Lubitsch)

An unexpected delight, a treat. Lubitsch's 'musical' isn't especially, but delivers a lovely line in mad humour - it's as mad and fast as some of his silents. Having been in the garden all day until 8 PM it was difficult to know what to put on - this was the perfect thing. So funny - moreso when you picture Lubitsch himself acting out all the parts for everyone.

Maurice Chevalier is sent to Paris to retrieve Marshovian millionaire Jeanette MacDonald, falls in love with a girl called 'Frou-Frou' in Maxim's (which is her). Edward Everett Horton is supposedly there to help.

Tons of brisk funny stuff, often involving doorways (of course) - Lubitsch has a definite rhythm.

A favourite in the Bogdanovich family, and likely to become one of ours as well.

Glitteringly photographed by Oliver T. Marsh with sumptuous set designs by MGM resident Cedric Gibbons.

Written by Ernest Vajda and Samuel Raphaelson, based on the book and lyrics of Victor Leon and Leo Stein.

Una Merkel is delightful, George Barbier hilarious as the king - in one of many classic moments, he goes in to the royal chambers to retrieve his sword but realises it's too small - someone else's sword. Bursting in he finds Chevalier there with his girl  but so they don't alert the servants, they are forced to laugh and make pleasant conversation...

Chevalier isn't the only connection to Love in the Afternoon, which is also about a serial womaniser - there's a gypsy band too. Also features an incredible ballroom sequence dance in black and white.

Music by Franz Lehar.

"There they are - all your little tonights - and not a tomorrow among them."

Peter Bogdanovich 'Who the Devil Made It?'