劉別謙初嚐美高梅大製作的派頭，一切筆法更神采飛揚(yáng)。開敞的場(chǎng)景、空前的排場(chǎng)讓人物裏裏外外恣意張開：寡婦的心更顯孤獨(dú)，男女的愛(ài)更加沒(méi)處安放。坐擁小國(guó)大部分財(cái)富的寡婦忽然要搬到巴黎重新尋找生活色彩，國(guó)王唯恐國(guó)祚不保來(lái)一招美男計(jì)，派出風(fēng)流種子色誘寡婦。本來(lái)一個(gè)用情一個(gè)求性，幾番邂逅與折騰，改寫了男男女女的基本需要。歌與舞沒(méi)有賣弄甜膩，反而放在愛(ài)情的沉重中換來(lái)了歌頌。歌與影無(wú)間交流，劉別謙輕歌劇巔峰之作，亦成了荷里活極有代表性的一章。司花利亞與珍娜．麥當(dāng)奴最後一次合作，後者散發(fā)從未有過(guò)的成熟韻味。堪稱最性感的音樂(lè)劇。　　Rated the sexiest musical in the thirties, The Merry Widow could well be the sexiest musical ever. Jeannette MacDonald, sensual and majestic as a Persian cat, is the wealthiest widow in the kingdom of Marschovia. On a visit to Paris, she attracts a flurry of gold-diggers. To prevent her fortune from passing to foreign hands, the king sends a romantic envoy to court her. He chooses Captain Donilo, whose cavalier attitude to women is not limited to his rapport with Maxim's girls, girls, girls. Osé but not blasé, this elegant adaptation of Franz Lehar's operetta out-classed von Stroheim's silent in opulence, culminating in the grandest of grand balls.　　Source 28th HKIFF