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Maedchen
in Hollywood
Introducing Dorothea Wieck, sensational
star of "Maedchen in Uniform" who
scores heavily in "Cradle Song"
by WOODROW LORING
It Was Nearly five o'clock when I met Dorothea Wieck in a corner of the studio's nearly-deserted cafe. The temperature was hovering around the ninety degree mark, and she was attempting to combat the heat by sipping a glass of cold orange juice. As I prepared to start my questioning, she flashed me a dazzling smile, spread her arms in a gesture of amused submission, and said, with a delightful accent:
"All right; I am ready."
Dorothea is a striking brunette whose description cannot, without difficulty, be readily assigned to some definite category. She does not represent the scintillating personality of a Harlow, or the na'ivette of a Gaynor, but rather a modification of the two. She possesses more of an impetuous character — a character that radiates enthusiasm and ambition, and yet remains a personality that is unsophisticated and unaffected. Perhaps the secret of her charm lies in her stimulating freshness, her captivating smile, and her frank sincerity.
• Perhaps you marveled at her sensational characterization of Fraulein von Bernburg in Maedchen in Uniform. That performance was the culmination of
Dorothea Wieck and Baby Anita in a scene from Cradle Song, her first American picture
*r
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years of devotion to her work. Dorothea's parents, when she was but six years old, decided that she should be an actress. She convinced them of her dramatic possibilities by successfully imitating visitors to her home. From that time on she has been actively connected with stage and screen work.
Dorothea probably inherited some of her artistic temperament, for her father was an artist and her mother a musician of note. Until she was fourteen years old, she interested herself in writing little plays for herself and playmates. One day she happened to meet the poet Klabund in her native Davos, Switzerland, who insisted that she be given an opportunity for further development of her histrionic possibilities. Instead, she was placed in an academy, where she received training in music, dancing, and art, but not acting. Her dramatic ability came, not through coaching, but
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