A Midsummer Night's Dream (1935) Poster

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Astounding Shakespeare adaptation
Jaime N. Christley17 April 1999
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.
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10/10
You will believe in fairies
lokismumm1 October 2005
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.
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10/10
A True Classic
montebank24 December 2002
The movie is dated, true. In fact, seeing 30's Hollywood's version of Shakespearian England's version of Athenian costuming is a delight in itself. But the actors in this rendition are just amazing. Not only is the cast impressive (Cagney, Brown, Rooney, D'Havilland, Powell), but they are doing the roles with the right mixture of buffoonery and dedication to Shakespeare's love of high and low comedy together.

The casting of Cagney as Bottom was brilliant, his mixture of swagger and obliviousness is perfect, especially when played off of the great Joe E. Brown, who's rubber faced quiet performance is uproarious. Young Mickey Rooney is a wonderful puck, light and athletic, it may be his finest work. The special effects manage to give off the feeling of faerie, without overpowering what is going on. And the weaving of the two stories together works as well as might be hoped for.

I consider this to be the classic definitive Midsummer's Night Dream films. No other can ever measure up.
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10/10
SUPERB!
artzau2 April 2001
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.
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10/10
A Magical, Musical, Marvelous Movie
Ron Oliver15 January 2000
What?! James Cagney, Mickey Rooney & Dick Powell doing Shakespeare? Yes, indeed, and very well, too.

This is one of the most magical films of the 1930's. Warner Brothers lavished great care upon it and it glows like the moonlight in many of its most famous scenes.

The plot is a familiar one to all lovers of Shakespeare. Four desperate lovers steal away into the enchanted forest outside ancient Athens. There they are spied upon by the King of Fairies, Oberon, who is having domestic difficulties of his own with his fair Queen, Titania. Meanwhile, seven intellectually-challenged Athenian rustics have come to the same woods to practice a play they wish to perform at the nuptial celebrations of the local nobility. Puck, the fairy mischief-maker, has a ball causing difficulty for nearly everyone.

Hal Mohr, the Cinematographer, did a marvelous job. He makes you think he was filming by moonlight. For this film he was awarded the only Oscar ever won due to a write-in vote. The dreamy Mendelssohn music is also used to great effect.

The entire cast is excellent and the American accents of many of them does no injury to the Shakespearean verse. This was Olivia de Havilland's film debut and she is beautiful. Others include Ian Hunter, Joe E. Brown, Anita Louise, Victor Jory, Frank McHugh, Jean Muir, Hugh Herbert, Arthur Treacher & Billy Barty. Ross Alexander, groomed for stardom by Warners, had his best role here as one of the young lovers. Fame never smiled on him and two years later, relegated to minor films, he was to die a suicide.
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Warner Bros does Shakespeare, successfully!
didi-511 July 2003
Max Reinhardt's theatre production, together with William Dieterle's directorial flair, brings Shakespeare to Hollywood. The ideas and effects within this vision are brilliant, although the detail has undoubtedly diminished with the wear and tear of several decades.

Best in the actors are Mickey Rooney as Puck, and Joe E Brown as Flute. James Cagney is Bottom, Anita Louise is Titania, Victor Jory is Oberon, Olivia de Havilland and Dick Powell are amongst the lovers. All are ok but nothing special. The little changeling is Kenneth Anger, who would later be vitriolic in his book 'Hollywood Babylon'.

Perhaps the best thing about this film is how it looks. It truly is magical, and you get the sense of fairies and sprites causing mischief and confusion deep in the woods. I have the feeling it would look superb in colour.
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10/10
A classic film of one of Shakespeare's best plays.
ZiggyMama14 December 2005
What a wonderful congregation of talent! Newer versions may have color and language easier for the modern ear to understand, but lovers of Shakespeare should make a point of watching this classic! Although sometimes dim and patchy, for its time, this movie contained some very inventive visual effects, effectively drawing the viewer into the fairy world. And, considering the materials of the era, one has to wonder at the time and effort involved in the construction of the fairy costumes and environment.

James Cagney's portrayal of Bottom, the tinker, shows a seldom seen side of the actor, who is more often remembered for his tough guys and dancing roles. While wearing a full-face donkey head, he was able to convey all the emotions from fright to joy through body language.

Mickey Rooney's portrayal of Puck, the mischievous wood sprite, showed his early natural talent for mimickry and comedy that would evolve in the coming years.

Other actors, who were known but not yet as famous as they would be in later years, and stars from the earliest years of film also lent their talents to this picture. Joe E. Brown, Hugh Herbert, Olivia de Havilland, Dick Powell, Victor Jory, Ian Hunter, and many others make this film a true Classic!
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Mickey Rooney in this thing
jbuck_9195 June 2002
Though another commentator disagrees, if Rooney is not the greatest Puck you've ever seen, then tell me who is. With all respect to a talented actor, the sad part is that he played his greatest role when he was, what, 14?

The greatest Shakespeare movie of all time, in my opinion. The dazzling cinematography for its age. The fact that they got the mostly American actors to speak the lines properly. That inspired scene with a fairy jazz band. The special "star spangled" effect.

The criticism that scenes are overly long is related to a more modern perception of how long a scene should be, and alas, Shakespeare is mostly unmercifully cut (look at Olivier's last "King Lear"--Branaghs "Hamlet" would be an exception). Shakespeare just wrote long scenes. You woulnd't have Juliet on the balcony just say "I love you, Romeo," and disappear.
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9/10
A great cinematic introduction to Shakespeare
Doc-5717 July 1999
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.
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6/10
Anything Goes When Puck's on the Prowl in those woods.
bkoganbing17 December 2005
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.
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10/10
a real classic
dch_0007 January 2007
I don't know why it is so difficult to find this movie on DVD. It should have been already re-mastered and restored, as it has been done with many other movies. I have been told that the Library of Congress has a group or section in charge of preserving and restoring films considered masterpieces. Supposedly, they digitalize both the audio and the image in these films, before transferring them to DVD format. When are they going to do the same with this one? This movie is one of those pieces of art impossible to surpass. None of the other versions have been able to achieve and preserve the fairy-like, unspoiled, Shakespearian atmosphere of this one. This is a real masterpiece.
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10/10
Magical
ppazniokas2 February 2001
Even in these modern times, when it's so hard to suspend our disbelief unless the special effects are indiscernible from real life, this movie will charm your pants off. Give it just the least benefit of the doubt (it was made in 1935!) and it will reward you greatly. And what a cast!
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10/10
Extraordinary
coach2130 December 2003
There are a number of problems with this production of Shakespeare's classic comedy, but overall, it is a joy to watch. I have always loved the work that Olivia de Havilland has produced, but there are a number of times in this film where she literally screams lines that call for a bit more subtlety. Another problem at least in my mind is that the long ballet sequences lengthen the film unnecessarily. These flaws are easily overlooked though thanks to perhaps the best performance of the play "Pyramus and Thisbee" that I have ever seen. I never dreamed that Cagney and Joe E. Brown could make such an excellent comedic team.
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9/10
Excellent Production
dshsfca23 October 2000
While the 1999 version is receiving mixed reviews, this classic version with a star-studded cast is delightfully mischievous. Mickey Rooney, a very young boy, has never been better cast, nor delivered a better performance. And despite the dream sequences not always being clearly distinguished from real time motion, one catches on quickly enough. Everyone, even Dick Powell, delivers his lines mellifluously, something that cannot be said for the 1999 version. There's more energy and zeal, more mystery and charm, more color(though B&W) and clarity, despite its age. Remarkable performances under exellent direction work together to make the Bard sparkle, and the film enchant.
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9/10
Shakespeare blessed this version
verdegris6 April 2002
Not a way in the world to tell that this was a low-budget fast production of one of the world's most charming plays.

Tough guy James Cagney as Bottom, member of a crew of traveling Thespians,; Olivia De Haviland, co-star of Gone with the wind, as a beguiling a bewildered Hemria, stumbling abut in he woods in he dark of night...sparkle with fairy dust as Oberon and the Queen of the fairies fight over custody of a tiny fairy prince.

Though he was not happy in the role, one could not tell that Mickey Rooney, as the unifying character PUCK, was anything but the rowdy sprite who caused the mischief to be performed, to his own running commentary.

Had Will had such thngs as cameras, film and space, he could have wanted no better a production to result from his own Midsummer Night's Dream
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10/10
A film made with great force and extraordinary skill
jakob1321 February 2016
A refurbished 'Midsummer Night's Dream' is now available. A 1935 rendering of Shakespeare's play with the 16 year old Mendelssohn's masterpiece as background music. Austrian born theater impresario Max Reinhardt co directed it with German-born William Dieterle a Hollywood filmmaker. The influence of German expression is noticeable, but it takes nothing away from the Bard's fairy tale. A parade of Hollywood stars and character actors parade across the screen with Shakespeare's meter and line as dialogue. Romantic leads, song and dance men, comedians and what ever you would find in a Studio's rooster of the Golden Age of Hollywood Studios. Victor Jory, Tina Louise, Ross Alexander, the young Olivia DeHavilland (still alive at 97), Dick Powell, Jane Muir. Then there the eternal laughter of Hugh Herbert as Snout, the plastic faced Joe E. Brown as Flute, the eternal harassed backstage guy in musicals Frank McHugh as Quince and a trim Arthur Treacher without much to say. The ensemble turns in a stellar performance. But it's the 13 year old Mickey Rooney as Puck that is a wondrous delight as his name implies. His performance is almost matched by Jimmy Cagney as Bottom the weaver who is transformed in an ass. And then there is the eternal play of night and day, the aerie lightness of the fairies and the dark brooding of the Teutonic nights of Oberon. This is a film that 80 years on doesn't creak, but is a surprise to the unsuspecting eye that comes up this version of 'Midsummer Night's Dream'. The play has been brought to the screen many times over, but no version has and can match the Reinhardt production, a savvy fixture of theater and cinema. It should and deserves to be seen!
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9/10
An enchanting evening - much better than the remake, of course.
jacksflicks7 May 1999
This is the great Max Reinhardt's only Hollywood film venture and, as such, is a precious gem.

Here is a rare example of how being dated improves a film. Much in the way it helped Dreyer's "Vampyr," the distance of early cinematography endows "Midsummer Night's Dream" with an eerie, slightly alien aura, perfectly in keeping with an Arcadian fantasy-myth.

Victor Jory is perfect as Oberon, and the visual effects are the stuff of - what else - dreams. Mickey Rooney's Puck is, however, over the top. Otherwise this "Midsummer Night's Dream" should have rated a 10.
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9/10
Art!
Spondonman31 August 2013
When I saw this movie for the first time I knew I'd never seen anything remotely like it, well I was 10 years old after all. But over 40 years later that still holds – this is a unique experience, a revelatory motion picture that entertains, educates and manages to inform you who you are too. Are you a Shakespeare or a movie purist or simply someone who can accept nobody and nothing is perfect and that therefore Shakespeare and movies can possibly be complemented or improved upon by later (agreed, exceptional) talent? I read the play a few years later and was entranced but would still prefer to have this gossamer Max Reinhardt masterpiece with me for company on a desert island instead.

Various young people in Athens fall asleep in wood and various fairies, nymphs and elves come out to play and play the fool with them. It's the relentlessly dreamy and inventive Oscar winning camera work that takes the attention first, but the brave casting of currently popular Warner Brothers stalwarts then takes the breath away. I wish Dewey Robinson could've been given a meatier role! From his er, exuberant performance as Puck I grew up thinking Mickey Rooney must've been a marvellous actor! I always had a soft spot for James Cagney after seeing him in his key role here as Bottom – his tearful realisation of his newly acquired animal magnetism had me transfixed. Olivia de Havilland never looked lovelier when she was being washed by the gleaming arc-moonlight or lying on the gleaming grass. But everyone else was gorgeous too, male, female or otherwise - and I don't care either, I almost wished Dick Powell and Ross Alexander had launched into a croony duet over Hermia! It was Victor Jory's strangest role but he never bettered it. All manner of glimmering glossy shiny tricks were used to promote the astounding ethereal atmosphere, so much so that if I saw the play at the Globe it would probably still look incomplete even if it obviously sounded more authentic.

Just referring to this film version mainly as a stand-alone piece of entertainment and not as in direct comparison to the play, I can hardly fault it. So I would have to summarise that in the main: We shall not see the likes of this again.
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5/10
Lord, What Fools These Mortals Be!
wes-connors18 July 2010
An appreciation for this version of William Shakespeare's "A Midsummer Night's Dream" is likely to depend on how you feel about seeing the Warner Bros. stars as its repertory company. At the time, the studio's three biggest box office draws were Dick Powell, Joe E. Brown, and James Cagney; and, they receive three of the play's meatier roles. In 1935, Mr. Brown's fey characterization of "Flute" was the film's highest praised. Over the years, Mr. Cagney's boisterous "Bottom" has risen with his in correspondingly increased stature. Most everyone, including the actor himself, has panned Mr. Powell's love-struck "Lysander".

Efforts to trim the running time couldn't make the film much of a hit, but those who saw it could tell horned teenager Mickey Rooney was going places, though his "Puck" remains an acquired taste. The beautiful Olivia de Havilland's lovely "Hermia" definitely increased her Warners stock. Ross Alexander, Jean Muir, and Victor Jory shine by being less familiar. The film's art/set design and Hal Mohr's photography of such are the film's greatest strengths. But, this is Shakespeare, after all; cinematography shouldn't be the main calling card. Mr. Mohr won an "Academy Award" as a write-in; henceforth, they were forbidden.

***** A Midsummer Night's Dream (10/9/35) Max Reinhardt ~ Mickey Rooney, James Cagney, Dick Powell, Olivia de Havilland
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9/10
A most interesting film
dss-23 September 2007
Warning: Spoilers
How can one have spoilers when making comment on a film that came out in 1935? In any event, I saw this on DVD. In fact I saw it three times over a two night period. The first time my response to it was so so, but the film grows on one, especially after watching it with Scott McQueen's most interesting commentary. A number of points that have not been mentioned in the earlier entries: 1) the film is cut to make it move quickly -- look at the introduction to the enchanted forest -- the scenes are in seconds. This makes the film look very modern, particularly when compared to a film like Gone with the Wind which uses a lot of long shots and dolly in shots. 2) the fairy, goblin orchestra -- wow -- it reminds me of the cantina scene in Star Wars III. The strange instruments and the strange faces are other worldly. No one has commented on Joe E Brown's performance. It is a lesion in expert commedianship. He does very little, but he is very funny. This film was truly ahead of its time. It is a bit slow and to some degree irritating today but it well worth watching.
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Shakespeare goes to Hollywood
PASOFIED13 March 2003
This film represents one of the first attempts by a big-time Hollywood studio to adapt Shakespeare. They employ a couple of techniques that have since become standard, i.e., reordering scenes and trimming passages of dialogue, techniques that others (notably Zefirelli) have used since and to good effect. The 30's style production is remarkable to look at nowadays.The fairy ballets resemble nothing so much as the big all-girl production numbers from the Busby Berkley films. James Cagney is amazing to watch -- he was making a lot of gangster films at the time and this show gives us a hint of what was coming later in his career (Yankee Doodle Dandy). Mickey Rooney is almost insufferable -- but we're not supposed like Puck, anyway (he doesn't care much for mortals). The Hollywood factory approach is evident as well. Any devotee of pictures from the period can see the interconnectedness of cast and crew in other films, almost as if the industry was one big repertory company, changing roles and costumes between films. Example: 3 years later DeHavilland, Ian Hunter, and Korngold all worked together in the Adventures of Robin Hood.

A delightful film. An ambitious approach
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5/10
Nice but just nice.
DarthVoorhees27 October 2011
Warning: Spoilers
Probably my choice for Shakespeare's most overrated play. I actually think this thing is a very dark comedy. It's views on love are twisted and cynical and cute little Puck is a sadistic little bastard. If I were to direct a production it would probably depress people.

This particular production has great things about it, namely Jim Cagney as Bottom. Brilliant performance and one of the best Shakespeare to screen interpretations I've ever seen. He has such manic energy and excitement which is perfect for the character. The problem is when he get's his ass's head which is painfully fake looking it really takes away from the performance. I suppose this might be an instance where I might crave for CGI but I don't see why every production of this play insists on making the ass head so literal. Some practical make-up effects and a humanized ass head allowing for expressiveness from the actor are sorely craved.

Reinhardt was a brilliant theatre director and this is really the only thing we have left of his work. It gives us a nice feel of what his production of this play would have looked like theatrically. He seems to really love the close up though and I kind of wished he would move back so it would be closer to a theatrical experience. There are elaborate spectacles with the fairies which are beautifully choreographed and sung.

My big problem with the film? The Mickster as Puck. A little bit of Mickey Rooney goes a long way. Of course they wanted him in this thing to show how cute he was and hearing his voice go through Shakespeare is irritating.
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7/10
An uneven but, at its best, very fine movie
richard-178722 June 2010
This is not a faultless masterpiece, but neither is it as bad as some of the posters on here claim. It is most certainly uneven: there are dance sequences that go on too long and other things that do not work. But there is also a great deal that is quite simply remarkable.

First is Cagney's performance as Bottom. No, he doesn't sound English. But yes, he delivers his lines very well. More than that, he truly makes a human being, and an at times very moving and complex one, out of what was probably meant to be a mere buffoon. You feel for him when he awakens in the forest and recalls that he had been an ass. You laugh at but also with him when he becomes thoroughly wrapped up in the terrible play his company performs. And, of course, being the superlative dancer that he was, he has the agility to do whatever he wants.

Some of the other good performances are also among the players. Joe E. Brown is very funny as Flute, Frank McHugh is remarkably good as Quince. Hugh Herbert, on the other hand, is very aggravating as Snout.

There are other good surprises. Grant Mitchell is very good as Hermia's father.

And then there are the good things that don't come as a surprise.

Ian Hunter recites the lines like a true Shakespearean. It's a shame his part, Theseus, is so small. He's a pleasure to listen to.

There are other things to recommend this movie as well.

The sets for Athens and the Duke's court are really very beautiful, and sometimes very imaginative. Warner Brothers was, after all, the studio that gave us such great historical movies in the 1930s as Robin Hood and The Sea Hawk, so I suppose those sets don't come as a surprise, though they are certainly a pleasure. The same can be said of the costumes of the court.

And there is also the ingenuity of Max Reinhardt's staging. Some of it falls flat, yes. But some of it is remarkably imaginative and, for me at least, a great pleasure.

Many of the previous posters remarked on Mickey Rooney's Puck. Puck is supposed to be aggravating, half-human and half-animal, and Rooney is very good at being that. He really looks like a "wild boy," nothing like he appears in his other movies. I don't like the character, but I guess Rooney does a fine job with it.

The play itself is uneven, far from being one of Shakespeare's masterpieces. Some of the characters - the four lovers - are really uninteresting, and there really is no forward momentum to it. On the other hand, there is some astoundingly beautiful poetry in the play, passages as beautiful as any in the English language. These are delivered in the movie in all their beauty, admittedly most often by Ian Hunter and Victor Jory.

Reinhardt was also intent on using a lot of Mendelsohn's incidental music. While much of that music is very beautiful, some of it really slows the play down, and Reinhardt's ingenuity is not always up to holding our visual attention as well as Mendelsohn does with our aural attention.

So, an uneven but often fascinating movie. No one, with the exception of Hugh Herbert, embarrasses himself, and many of the performers are very good, some surprisingly so given the other roles they played in movies. Reinhardt's imagination is sometimes if not always very rewarding.

If you don't like Shakespeare, I don't know if this play will change your mind. If you do love it, you may be aggravated by some of what is done with it here, but you should be delighted with other parts. Not a perfect movie, by any means, and one that could have used some trimming. But still, a wonderful movie that merits viewing.
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10/10
From the Thames to Tinsel Town; Bringing Culture to the Masses! And this with a Depression on, yet!
redryan647 November 2007
Warner Brothers presents a MaxReinhardft Production , William Shakespeare's A MID SUMMER NIGHT'S DREAM, Directors Max Reinhardt & William Dietrele, Producers Henry Blanke, Hal B. Wallis and Jack L. Warner, Writers Charles Kenyon, Mary C. McCall,Jr., Bardov Avon & Willam Shakespeare, Original Incidental Music by Felix Mendelssohn, also Music Arrandements by Erich Wolfgang Kornkoldt, Musical Director Leo Forbstein. With: James Cagney, Joe E. Brown, Dick Powell, Mickey Rooney, Victor Jory, Ian Hunter, Victor Jory, Verree Teasdale, Hobart Cavanaugh, Ross Alexander Olivia de Haviland,Jean Muir, Grant Mitchell, Frank McHugh, Hugh Herbert, Dewey Robinson, Arthur Treacher, Anita Louise, Nini Theilade, Billy Barty, Sheiola Brown, Carol Ellis, Catherine Frey, Shep Houton, Angelo Rossito, Fred Sale, Helen Wescot.

Because of the intense scrutiny of the movie camera and our great devotion even addiction to the motion picture, both as an entertainment and a genuine Art Form; we some times sell the film Actors a little short. That is, we often confuse the Person with the Character being portrayed on the screen. Thus, we find ourselves as active agents in propagating that bane of all Thespians, "Typecasting!"* Just because an Actor has been very successful as, say a Cowboy Star, doesn't mean that he has any equestrian skills, nor that he can so handily discharge a Colt .45. The roles portrayed influence our own judgment and perception. The person we see on the screen, which is basically an illusion, is perceived as being the 'real McCoy'. This is sort of a practical application of the line spoken by Carleton Young as the Newspaper Editor in John Ford's THE MAN WHO SHOT LIBERTY VALANCE (1962). Remember? "When the Fact becomes Legend, print the Legend!" A lot of this line of thinking struck us some years back, when we saw Frank McHugh interviewed by Dick Cavett on the latter's TV Show. Mr. McHugh was most eager and delighted to talk about his career and his background. In listening to his answers to Cavett's insightful interrogatives, we discovered just how experienced a guy like him is in the Legitimate Theatre, not to mention his Film Work and experiences.

In this 1935 Warner Brothers super Production of William Shakespeare's A MID SUMMER NIGHT'S DREAM, replete with Felix Mendelssohn's Original Score which includes the Overture and the Incidental Music. As for the cast, they are a collection of Hollywood's Film Actors, mostly Warner's Contract Players. There are quite a few free-lancers, as well as those on loan from other Studios; such as the young Mickey Rooney, courtesy of MGM.

It was this film that gave a certain delight and pleasant surprise to the Depression Era Movie Goers in seeing the likes of James Cagney, Olivia DeHaviland, Dick Powell and even Hugh Herbert doing their interpretations of the Shakespearian Classics. Some of course were probably annoyed by the break from the Tinsel Town norm. But, well you can't please everybody.

In addition to bringing this "High Brow" material to the masses, the creation of the sets used were very influential in future films, especially in the areas of Fantasy, Horror and Science Fiction. The dark forest, the foggy appearance of the night scenes and the super star studded, heavily twinkling blackness of the sky are among the most magnificent heirlooms of the film's legacy.

As for its being a faithful adaptation of an Elizabethan Era play, it appears that it is quite a bit closer to the original than say that modern, updated production of "A MID SUMMER NIGHT'S DREAM" (1999), with Kevin Kline & Company . Now please do not think that means that we didn't enjoy the 1999 version, because we did. It's just that we liked the 1935 version better.

NOTE * That's not to say that Typecasting was not good for many an Actors' career & Bank Account. Just look at the resumes of so many movie people have compiled and how they worked so often because of identification with a particular "type". Just let us take for example; Marc Lawrence, Sheldon Leonard, Stanley Fields and Ben Welden: Gangsters all. Gino Corrado is everybody's favourite Waiter. Earl Hodgins is always there when we need a Carnival Barker. We could go on all day!
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A Midsummer Night's Dream
jcolyer12291 September 2005
The classic Hollywood version of William Shakespeare's most likable play stars James Cagney as Bottom and Mickey Rooney as Puck. When I first saw the play staged, Puck was played by a female dressed in green. I liked that. Fairies, Athenian nobility and commoners cross wooded paths to provide an escapism that leaves us slightly hungover. The play within the play is tedious. My favorite scene is at the beginning where Theseus and Hippolyta are watching the moon. Hippolyta says, "And then the moon, like to a silver bow new-bent in heaven, shall behold the night of our solemnities." Titania, the fairy queen, is erotic.
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