The Merry Widow

Synopsis: The small kingdom of Marshovia has a little problem. The main tax-payer, the wealthy widow Sonia (who pays 52 0f the taxes) has left for Paris So Count Danilo is sent to Paris, to stop her from getting married by a stranger, so that the danger of removing the money is banned. But this is not that easy as the ambassador in Paris has planned.
Rotten Tomatoes:
99 min

"Merry Widow"

Oh, what fun we were there

when they fall

We have a reason

that's worth marching for

Not for battle or banner or foe

but for girls...

When we're marching

we never retreat for we're

charging a foe that is swift.

But when we're caught in a swell

of the enemy's girls...


For our country

will never make war

We have a reason

that's worth marching for

Not for battle or banner or foe

but for girls...

When we're marching

we never retreat for we're

charging a foe that is swift.

But when we're caught in

the swell of the enemy's girls

then surrender to girls...

You may continue.

Thank you, madam.


Pardon me, madam

for trespassing in your estate

and intruding in your privacy.

What do you want?

I come to deliver

a confidential letter.

This is very important, Madam.

Madam Sonia

if you should ever

meet Count Danilo

let me tell you he is terrific.

What is this? Count Danilo?


That's what people said.

Danilo? Danilo?

Yes, Count Danilo.

Now, Madam, this is absolutely

between you and me.

This Count Danilo is crazy

to meet you.

He tried everything.

In fact, he's desperate.

I really feel sorry for the man,

but you're such a widow.

Pardon me, Madam, what I mean is

you live in complete seclusion

and the poor man has no chance

to meet you socially.

Well, I'm very sorry.

I never heard of the gentleman

and I'm not interested.

Oh, you will be, Madam.

The man is in such a state of man

there is no telling

what he may do.

Who is this Count Danilo?


Who wrote this letter?


I don't understand.

What do you want?

An answer. Yes or... when.

If you don't leave immediately

I shall report you to the king.

Oh, please, please.

Let me stay only a little while

and you may recommend me

to the queen.

It's hard to believe that

an officer of the royal guard...

Dares to approach the richest,

most powerful woman in the country...

And behaves like

a silly young cadet.

It's an outrage.

Now, don't get excited, please.

I am...

Unjust, that's what you are.

Put yourself in my position.

Imagine you saying all those

lovely things to me

and me wearing your mask.

Won't you spend sleepless nights

wondering what I look like?

Well, my situation is much worse.

I haven't slept for months.

Then I think

it would be very wise

if you leave immediately

and go to bed.

And dream about you.

No. No. You're cruel, Madam.

You're torturing me.

Day by day, I've been watching you

when you're riding your carriage

in the street.

I come up here every night.

I suppose I'll have to

call my servant.

They're all bribed.

Do you know I've been feeding

your dogs

with the finest imported salami

just to get quite a glimpse of you

and what do I see?

Your lovely little hands,

your dainty little feet and yet

the most beautiful thing.

Stop it.

Tell me. You're eyes.

Are they blue or brown?

Are you pretty or beautiful?


No. This is no time for joking.

I have been in many situations

but this is too much.

There's not a window in Marshovia

that I haven't jumped out.

I've got around

every kinds of band

but here I'm block. By what?

By your piece of flimsy material.

Oh, please. Have mercy.

Leave the veil between us, Madam.

Be a nice girl.

My dear Count, I'm very sorry

to be the cause of your suffering.

But, no... I...

But unfortunately, we are

in Marshovia and I am a widow.

Why don't you throw away

this old custom of ours?

And take off my veil.


I'd do it in a minute

if there is any reason for it

or the slightest temptation,

but there isn't.

Maybe you can't see me very well?

Oh, yes. In fact, too well.

I'll admit you're very funny

but not terrific.

Not even carousal.

Madam, I want you to understand

once and for all.

Our romance is over.

Don't count on it any further.

I've tried to bring the moonlight

into your eyes

but you pull down the shade.

Alright. Forget me, if you can.

Go back to your solitude.

Put on your loveliest negligee

and wish yourself good night.

And please, don't include me even

in your dreams, will you?

Good night.

Well? I'm afraid not again.

Come, Muska.

No more salami.

A night in romance

is underlying done,

in vain through my window

the moonlight is drawn.

Oh, Viria, oh, Viria, oh, yes,

that's my tune.

I love the shepherd who run for

the truth.

Viria, oh, Viria,

don't leave me alone.

My little, my little love to you.

Viria, oh, Viria.

I'm waiting for love,

lonely without thee was I.

Viria, oh, Viria,

don't leave me alone.

Love goes to love

and my heart is your own.

Viria, oh. Viria,

don't leave me alone.

Lonely with only my song.

Lonely without thee.

Good night. Good night, madam.

Oh, just a minute,

before I forget. Melissa?

Yes, Madam.

Would you ask the secretary

to find out

the address of a certain, ah,

of a certain, ah,

what's his name? Count Danilo.

Oh, Count Danilo lives

in Queen's Avenue.

No. 25, second floor, apartment B

Thank you. Never mind.

That's all.

Good night, Madam.

Good night, Madam.

Good night, Madam.

I thought that this day

could be the day

when my heart would find

your love, your love again.

I thought that this day

would be the day

and my heart would learn to dance

dance again.

It was all just a fleeting dream.

Men are not, not what they seem.

And this beautiful day

only taught me to regret

but tonight will teach me

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Ernest Vajda

Ernest Vajda (born Ernő Vajda; 27 May 1886 in Komárno, Austria-Hungary, today Slovakia – 3 April 1954 in Woodland Hills, California) was a Hungarian actor, playwright and novelist, but is more famous today for his screenplays. He co-wrote the screenplay for the film Smilin' Through (1932), based on the hit play by Jane Cowl and Jane Murfin. Vajda also wrote the screenplay for the first film version of Rudolph Besier's The Barretts of Wimpole Street (1934). more…

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Submitted on August 05, 2018

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