their seats and waited for the curtain to go up. Not only were they the ones she wanted to reach, but she wanted to be there when they responded, she did not want to be off in another part of the world while they gazed at a second-hand image on a screen. In fact, she was not sure she could give them anything to respond to without the inducement of their presence." Moreover, the largeness of her facial structure—her bone structure—were so explicit that they could be seen to the last row, but "might have been less than an asset on the screen where the camera enlarges and exaggerates. Her voice and gestures were eloquent theatre props that might have been too much for the screen, necessitating adjustments so basic that she could not make them. And beyond physical equipment ... it is possible that the quality she had as an individual, the unique something about her that transcended technique and craft and fifth-rate writing might not have transcended cameras; it would not have come through to an audience without her physical presence." But other sources say that Hollywood secured Broadway plays for its own actors under contract and that Cornell was never considered for the roles she originated on stage. Additionally, Cornell had apparently written to film director George Cukor, suggesting that she would consider a film if he would direct her. Nothing came of this effort. She turned down many movie roles that earned Academy Awards wins and nominations for the actresses who did play those parts, from Olan in The Good Earth, to Pilar in For Whom the Bell Tolls. Additionally, many of her roles in hit plays were successfully played by other great actresses, or were adapted as movies. As audiences were deserting live theater for the movies, Cornell became even more determined to stay in the theater in order to help keep it vibrant. The 1933–1934 tour After Barretts closed, Cornell played leading parts in two plays: Lucrece (1932), Thornton Wilder's translation of the play by André Obey, and Sidney Howard's Alien Corn (1933). Her success in Lucrece put her on the cover of Time on December 26, 1932. Her next production was Romeo and Juliet, with McClintic directing. Basil Rathbone was Romeo, and Cornell played Juliet. It was the first time she had performed in any Shakespearean play; Rathbone was more experienced, having played