Sonho de uma Noite de Verão

Thalberg's pledge to give back to the people something good is seen in this project realized 66 years ago. Everyone is acting! No one struts or swains, dying to be a star. The young, superlovely Olivia de Havilland is a gorgeous and fun Hermia in her maiden role. Dick Powell and Ross Alexander as the two Athenian youths confused by Puckish Mickey Rooney Robin Goodfellow are wonderful in their entanglement with beautiful Jean Muir's Helena. The players, Frank McHugh, Dewey Robinson, Hugh Herbert, Grant Mitchell and the wonderful snob's snob, Arthur Treacher are topped by Jimmy ("you dirty rat") Cagney [trivia buffs know he never said those lines except in response to Gorshen and Rich Little's impressions of him at a roast before his death] and Joe E. Brown's Flute. Victor Jory, often cast as a villain is great as Oberon, as is lovely Anita Louise as Titania. There's not a weak spot in this cast and the entire play, in living Black and White, is soft, diffused and whispery as a summer night. Erich W. Korngold's music is supplemented by the exquisite Mendelssohn score and look for a tiny Billy Barty as Mustardseed, one of the sprites. There are other fine ones, the RSC's 1968 and the recent 1999 are wonderful, but, fans, take it from an old Shakespeare buff, this one is an immortal production.

A Midsummer Night's Dream was to be Jack Warner's bow to culture back during the Depression. The economical studio which specialized in urban dramas was doing something that normally MGM would have taken the lead in. In fact I'm not so sure that Louis B. Mayer decided that if Warner Brothers could make Shakespeare popular, he could do it better and hence Norma Shearer got to star in Romeo and Juliet.

The great German Impresario producer Max Reinhardt with co-direction from another German emigrant, William Dieterle, put this together. He played to Warner Brothers other strength, those Busby Berkeley musicals and their intricate numbers. Visually, A Midsummer Night's Dream is stunning with an ethereal quality as the various faeries and nymphs go through the woods. They do their thing to Mendelsohn's great music as arranged by Erich Wolfgang Korngold. In fact this was the start of Korngold's relationship with the brothers Warner and some of the great musical scores he wrote for them.

This was also the start of Olivia DeHavilland's great career. Olivia is one of the few major stars who literally went from unknown to star in one fell swoop. She had graduated high school and was doing some summer stock before entering college when Max Reinhardt spotted here while touring America with A Midsummer Night's Dream. When Warner Brothers got his services for this film, he brought with him Olivia and personally cast her as Hermia.

The film was held up with editing, scoring, retakes, and Olivia made and was seen in two low budget films before A Midsummer Night's Dream was released. So her debut is in a Joe E. Brown film, Alibi Ike. But this is her first film.

The material was familiar to Olivia, but not all her fellow players at Warner Brothers were so blessed. Dick Powell said that this film was one of the two worst experiences he had while at that studio. He had no training of any kind to do this classical piece and said he was lost through out the whole production.

James Cagney is no classical actor either, but as Bottom with or without the donkey's head on him, courtesy of Puck, Cagney brings his boisterous style to the proceedings and it works for the most part. Some of the other tradespeople in the town Frank McHugh, Dewey Robinson and Joe E. Brown look pretty lost though.

On loan out from MGM, Mickey Rooney steals the show as Puck. On orders from Victor Jory the Faerie King to play a little joke on his wife Anita Louise, Rooney casts a spell on her that will make her fall for the first living soul she sees. Rooney decides on is own to sweeten the joke by giving James Cagney a donkey's head and making sure that Louise sees him first. And of course the four lovers, Dick Powell, Ross Alexander, Jean Muir, and Olivia DeHavilland, Rooney confuses their affections as well as a bonus.

Rooney who was another kid actor up to this point, got his first real critical notices in this. It led to his becoming a major star over at MGM and Louis B. Mayer never lending him out to anyone again as long as he was under contract there.

A Midsummer Night's Dream is a curious film. Shakespearean purists might recoil at some of the casting, but I'm sure it was entertaining enough for the Depression audiences.

Since "Shakespeare in Love" made that particular playwright happening and new, check out this, Warner Bros.' wild, expensive, free-wheeling adaptation of "A Midsummer Night's Dream".

For me, James Cagney makes the movie. He's Nick Bottom, the leader (or so he believes) of a traveling troupe of actors. He gives an invigorating performance--the screen is his. At one point, he gets to wear a donkey's head (if you know the play, you know what I'm talking about), but it doesn't faze him in the least. Cagney, the most energetic screen actor, doesn't let his over-the-top approach mar his skill or care with The Bard's great words. It's the test of anyone wishing to act out a part in a Shakespeare play, which Cagney passes, to "speak" the dialogue, and by doing so, make what might be confusing on the page understandable to audiences on the screen or stage.

Warner really spared no expense with this production, which I think might have been the costliest of that year. The whole affair is like a dream in every way--it seems to sway in the wind, fragile to the touch. It features Mendolssohn music, soft-white photography (the great Hal Mohr), and some of the most incredible sets and costumes you're likely to see in a 1930s film.

Nominated for three Academy Awards: Picture, Cinematography and Editing. Bested by "Mutiny on the Bounty" for the first, it won the other two.

I came across this movie one rainy afternoon on TV. Jimmy Cagney doing Shakespeare? Surely not! My expectations were, frankly, low. We English are a bit funny about Shakespeare, as you can imagine, and the thought of the dirty rat as one of the bard's greatest comic creations was worrying, to say the least. The whole film is, however, magical. I laughed out loud at the wall joke, even though I knew what was coming, and Roony's Puck was, as another contributor says, probably his best performance. Bottom's realisation that he is now the proud possessor of an ass's head is quite affecting. It's Titania's fairies, though, that make this such a wonderful experience. I have seen this a couple of times since that rainy afternoon, and am always convinced that it will not live up to my expectations. It always does, though. The sheer beauty of the scene where the fairies awake is, as we say over here, gob-smacking. I am sure that this could never be done with such picturesque quality in colour. I had this on tape for a long time, and then I lent it to some eejit who erased it. I scan the listings every week to see if it's on TV, and when it is I shall make sure that it never leaves my possession.

Early Hollywood wasn't known for its high-brow culture, and this film was an important step in enriching the cinema. The opening titles reveal how proud Warner Brothers were to have done it, and what a production it was indeed: all the top Warner's stars, the best technical support in the world, a top composer of the day in Erich Korngold, ballet choreography by Nijinska, and the highly respected Max Reinhardt as director. You couldn't have asked for more in those energetic movie days.

And, happily, it works! It's still beautiful, exciting, technically enthralling--and very funny! There are too many great performances to single out even one; but as an ensemble, the "players" are marvelous. No one seems stilted; everyone is right at home; even though most of these individuals hadn't been trained to the classical stage--they were just good! and, incidentally, it just goes to show the timelessness of the play itself.

Some scenes today seem overlong, and I think someone should have toned down little Mickey Rooney a good bit, but all in all it's a triumph. Midsummer or not, it's a sweet interlude.