to a reporter that Hollywood was too commercial and like a drug for the public. He went on to state that the Hollywood-fantasy happy endings simply blinded working people from their hopeless lives and that "if the movie theaters were suddenly closed in America, there would be a revolution", but that in Europe he hoped for "films made in the name of art." Fejos's career in France was short-lived and began with his supervision of Claude Heymann's American Love in 1931. Next Fejos made the ambitious Fantômas, a remake of the famous serial made by Louis Feuillade in the 1910s. In 1932 Fejos returned to Hungary to direct Spring Shower (Tavaszi Zápor), which some film critics have called his best film. The film stars Annabella as a young girl who is seduced and abandoned, has a child, and dies in poverty only to have to scrub floors in Heaven. While in Heaven, she sees that her now-teenage daughter is about to make the same mistake that she made and dumps her wash bucket to cause a rain storm and prevent it. Jonathan Rosenbaum praised the film, stating that it had "some magical moments of its own. Much as Lonesome seems indebted to the city and amusement park scenes in Sunrise, the nocturnal lighting and sensuality of Marie's seduction and its mysterious musical aftermath recall certain rustic night scenes in the same film. But unlike the determinism of Murnau's compositions and camera movements, Fejos' anthropological distance and fairy-tale encapsulations imply a different sort of relationship to his characters: the rapid cutting between details in a brothel parlous to convey Marie's confusion before fainting encourages an identification with sensations, not thoughts or feelings. And the beauty of Annabella's performance and a violin-and-clarinet theme may help one overlook some of the more reductive aspects of the folk legend that define the films dimensions." Fejos fell in love with Annabella and supposedly flew over her train back to France in a small plane and showered it with roses. Fejos's friend John W. Dodds has stated that "every time [Fejos] moved to another country, it was because of an ending love affair" and Fejos would spend the next few years throughout different European countries, often with frequent collaborators Lothar Wolff, his assistant director, and Ferenc Farkas, his composer. Fejos' second Hungarian film was The Verdict of Lake Balaton (Itél a Balaton) in 1932. In this