Mr. Wachsmann, an industrialist in Königshütte, Upper Silesia, tried to talk his gifted son, Franz, out of embarking on an unprofitable career as a musician. He imagined a more solid career for the youngest of his seven children. But Franz would not be dissuaded. While briefly working as a bank teller, he used his salary to pay for his real interests: piano; music theory; and composition lessons. After two years in this disagreeable position, he went to Dresden, later to Berlin to study music. Recognizing the young man’s talent, the composer Friedrich Hollaender asked him to orchestrate his score for the legendary 1930 movie, “The Blue Angel” with Marlene Dietrich. When in 1934, Franz was beaten up by Nazi hoodlums, he needed no further persuasion to leave the country and boarded a train to Paris the same evening. In 1935, he moved on to the United States, where, under the name “Waxman,” he quickly became a sought-after composer of film music. On November 3, 1938, Richard Wallace’s movie “The Young in Heart” was launched, with a soundtrack by Franz Waxman.
Samuel (later “Billy”) Wilder had a mind of his own: born in 1906 into an Austrian-Jewish family in the Galician town of Sucha Beskidzka, then part of the Austro-Hungarian Empire, he was expected to join his father’s business, which consisted mainly of a chain of railroad restaurants. But after the Realgymnasium and a brief stint at law school in Vienna (he dropped out after three months), he decided to follow his true leanings. At the paper Die Stunde, a tabloid of questionable repute, he got his first shot at practicing his writing skills. In 1926, an opportunity arose for him to move to Berlin, where he freelanced for various tabloids and took up screenwriting. After the Nazis’ ascent to power, Wilder first moved to Paris and was given the opportunity to direct his first movie, Mauvaise graine. In 1934 he entered the US on a visitors visa. From 1936, he was under contract at Paramount Pictures. June 22, 1938 was his 32nd birthday – the sixth he celebrated in exile.
On May 14, 1938, American moviegoers lined up to see Errol Flynn in his latest swashbuckling adventure produced by Warner Brothers. Flynn’s turn as Robin Hood was especially thrilling thanks to the lush film score by an Austrian Jew whose music was no longer welcome at home. Although a citizen and resident of Austria, composer and conductor Erich Wolfgang Korngold felt the effects of Nazi cultural policy soon after 1933, since he had often worked in Germany. In this climate, he did not have to think twice about Max Reinhardt’s invitation in 1934 to compose the score for his Hollywood production of “A Midsummer Night’s Dream.” Korngold’s symphonic film scores broke new ground and established the typical “Hollywood sound.” In 1937, while on an extensive visit to Vienna to complete the orchestration of his opera “Die Kathrin,” he received an invitation from Warner Brothers to compose the score for “The Adventures of Robin Hood.” This assignment spared him the turmoil of the Anschluss. He returned to the US well before March 12, 1938. This photograph shows what appears to be a recording session for the Robin Hood score. The actor in the photograph is Basil Rathbone, who played Robin Hood’s nemesis, Sir Guy of Gisbourne. Korngold won an Academy Award for his compelling score—his second after “Anthony Adverse” (1937).
The Austrian-born theater and film director Max Reinhardt emigrated to the US in October 1937, accompanied by his wife Helene Thimig, an actress. By introducing technical innovations and elevating the position of the director, Reinhardt played a pivotal role in the development of modern theater. With his production of H. von Hoffmannsthal’s “Jedermann” in 1920, he became one of the co-founders of the Salzburg Festival. Shortly after he settled down in the US, plans emerged to found “another Salzburg” festival in California. This time, he wrote his friend Arturo Toscanini, he would be working “under more favorable climatic and political conditions, and perhaps with greater financial means.” Among his achievements in the US were staging Werfel’s “The Eternal Road” (1937) and founding the Max Reinhardt Workshop for Stage, Screen and Radio, a theater and film academy in Hollywood (1937–1939). He did not think very highly of US audiences.