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"The Lubitsch touch" has become a hallmark of merit, that of the noted director, Ernst Lubitsch. Yes, another Reinhardt graduate
American scene for the life that is all around us. There is ample material in that life. Dreiser's 'An American Tragedy' is an example — something that actually happens. When this life is translated by the genius of a great American poet — then Hollywood will have its ideal screen material."
"And I hope to bring 'A Midsummer Night's Dream' to the screen even more effectively than it can be produced on a stage — indoors or outdoors. The beauty of the screen is that everyone can be in the second row. Much of what your audience misses on the stage, they will be sure to see on the screen. Of course, what I am afraid to lose is the contact between player and audience, the reaction and counter-reaction— that is what I, as as the director, must supply.
"But there is no reason why the screen cannot present a play such as 'A Midsummer Night's Dream' better than the stage. First of all, it is a poem of nature. Love, poetry and nature are very closely woven. And here where nature is at its most beautiful, where there are forests
mountains and meadows to be caught by the camera— I a poem should be twice as full and complete. You cannot I ng the beauties of nature to a stage — so you are always : limited. The screen should be ideal." Reinhardt paused! in his enthusiasm for a note of caution, "However, it I is an experiment."
I wondered if his greatest experiment wouldn't be with Hollywood actors. Reinhardt, you know, while securing the greatest European actors for his Continental productions, has always had about him a group of personally trained artists. His Reinhardtschulc in Berlin was the alma mater of practically every important actor on the Continent. In his seven theaters in Berlin and one in Vienna, almost every European dramatic artist has appeared.
In fact, while for years the proudest boast an actor could voice was "Eve studied with Reinhardt," it also became a standing joke abroad— because every actor claimed the distinction, even though he had merely walked backstage in a Reinhardt theater!
Here in Hollywood, Max Reinhardt will have to do what any other director has to do — cast from the large group of Hollywood actors — and shoot with them. He will not have the time to train them to his methods.
I asked him if he intended to found another Reinhardtschule in Hollywood.
"No," he replied, "at least not at the present time. There is much talent here," he smiled, "you will be much surprised. There will be some discoveries. The future will show."
Max Reinhardt is a pioneer by instinct and an adventurer at heart. He is sure of himself, daring and he is never afraid to do the new or unexpected. f please turn to page 92 ]
William Dieterle, after nine years under Reinhardt as an actor, then turned to directing. He is here as Lysander in "The Dream"
Mady Christians says she couldn't replace what she learned in her seven years with Reinhardt. "Even now," she adds — star that she is — "I find myself, when in doubt, asking how he would do it"
Across the desk in his office at Warners, Reinhardt looks more like the successful merchant or banker than what he is — the world's preeminent theatrical maestro. He is seen here with Jack Warner
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