Directed by | |||
| William Dieterle | |||
| Max Reinhardt | |||
Writing credits | ||
| William Shakespeare | (play) | |
| Charles Kenyon | (arranged for the screen by) & | |
| Mary C. McCall Jr. | (arranged for the screen by) | |
Produced by | |||
| Henry Blanke | .... | producer (uncredited) | |
| Hal B. Wallis | .... | executive producer (uncredited) | |
| Jack L. Warner | .... | executive producer (uncredited) | |
Cinematography by | |||
| Hal Mohr | (photography by) | ||
Film Editing by | |||
| Ralph Dawson | |||
Art Direction by | |||
| Anton Grot | |||
Set Decoration by | |||
| Ben Bone | (uncredited) | ||
Costume Design by | |||
| Max Rée | (as Max Ree) | ||
| Milo Anderson | (uncredited) | ||
Makeup Department | |||
| Perc Westmore | .... | cosmetician | |
| Charles Gemora | .... | makeup artist (uncredited) | |
| Faye Hanlin | .... | hair stylist (uncredited) | |
Production Management | |||
| Al Alleborn | .... | unit manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| Russell Saunders | .... | assistant director (uncredited) | |
| Sherry Shourds | .... | assistant director (uncredited) | |
Art Department | |||
| Emmett Emerson | .... | props (uncredited) | |
| Harper Goff | .... | set designer (uncredited) | |
| John More | .... | props (uncredited) | |
Sound Department | |||
| Charles David Forrest | .... | sound (uncredited) | |
| Nathan Levinson | .... | sound recordist (uncredited) | |
Special Effects by | |||
| Byron Haskin | .... | special photographic effects | |
| Fred Jackman | .... | special photographic effects | |
| Hans F. Koenekamp | .... | special photographic effects (as Hans Koenekamp) | |
Camera and Electrical Department | |||
| Thomas Brannigan | .... | camera operator (uncredited) | |
| William Classen | .... | grip (uncredited) | |
| Stanley Cortez | .... | camera operator (uncredited) | |
| L. De Angelis | .... | assistant camera (uncredited) | |
| Hans F. Koenekamp | .... | assistant camera (uncredited) | |
| Mickey Marigold | .... | still photographer (uncredited) | |
| Robert Surtees | .... | camera operator (uncredited) | |
Editorial Department | |||
| Warren Low | .... | assistant editor (uncredited) | |
Music Department | |||
| Leo F. Forbstein | .... | conductor | |
| Erich Wolfgang Korngold | .... | music arranger | |
| Erich Wolfgang Korngold | .... | composer: additional music (uncredited) | |
Other crew | |||
| Stanley Logan | .... | dialogue director | |
| Bronislava Njinska | .... | choreographer: ballets by (as Bronislawa Nijinska) | |
| Fred Applegate | .... | continuity (uncredited) | |
| Henry Blanke | .... | supervisor (uncredited) | |
| George P. Breakston | .... | double: Mickey Rooney (uncredited) | |
| Jane Downey | .... | stand-in (uncredited) | |
| S. Charles Einfeld | .... | press agent (uncredited) | |
| Jack A. Goodrich | .... | stand-in (uncredited) | |
| Jack Grey | .... | stand-in (uncredited) | |
| Betty Hobday | .... | stand-in (uncredited) | |
| Percy Kennedy | .... | stand-in (uncredited) | |
| Pat O'Shea | .... | stand-in (uncredited) | |
| Gladys Rehfeld | .... | stand-in (uncredited) | |
| George Slight | .... | stand-in (uncredited) | |
| Nini Theilade | .... | dance ensembles (uncredited) | |
| Charles Veneman | .... | stand-in (uncredited) | |
| Arthur J. Zellner | .... | publicist (uncredited) | |
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| A Midsummer Night's Dream | A Midsummer Night's Dream | Shakespeare in Love | A Midsummer Night's Dream | The Other Boleyn Girl |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
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.