Tuesday, March 31, 2015

New book: "The Parisian Avant-Garde in the Age of Cinema, 1900-1923" by Jennifer Wild

I am excited to read this just released book from the University of California Press, The Parisian Avant-Garde in the Age of Cinema, 1900-1923, by Jennifer Wild. I hope to get a copy soon, as it seems the intersection of two big interests, early cinema and early modernism. Though a few of the Surrealists were devotees of Louise Brooks (namely Phillipe Soupault and Man Ray), and one Bauhaus affiliated artist incorporated her image into a montage, I don't think this book will discuss the actress, as the period it surveys is a little before Brooks' rise to fame. Nevertheless....

Here is the publisher description: "The first decades of the twentieth century were pivotal for the historical and formal relationships between early cinema and Cubism, mechanomorphism, abstraction, and Dada. To examine these relationships, Jennifer Wild’s interdisciplinary study grapples with the cinema’s expanded identity as a modernist form defined by the concept of horizontality. Found in early methods of projection, film exhibition, and in the film industry’s penetration into cultural life by way of film stardom, advertising, and distribution, cinematic horizontality provides a new axis of inquiry for studying early twentieth-century modernism. Shifting attention from the film to the horizon of possibility around, behind, and beyond the screen, Wild shows how canonical works of modern art may be understood as responding to the changing characteristics of daily life after the cinema. Drawing from a vast popular cultural, cinematic, and art-historical archive, Wild challenges how we have told the story of modern artists’ earliest encounter with cinema and urges us to reconsider how early projection, film stardom, and film distribution transformed their understanding of modern life, representation, and the act of beholding. By highlighting the cultural, ideological, and artistic forms of interpellation and resistance that shape the phenomenology of a wartime era, The Parisian Avant-Garde in the Age of Cinema, 1900–1923 provides an interdisciplinary history of radical form. This book also offers a new historiography that redefines how we understand early cinema and avant-garde art before artists turned to making films themselves."

"Jennifer Wild’s book is a major achievement, a monument in fact. The book ranges across the entirety of the early twentieth-century French avant-garde, from Picasso and Cubism to Dada and early Surrealism. Developments in cinema, painting, poetry, and music are all tracked. Wild's knowledge of the French avant-garde goes deeper and is more all-encompassing than that of anyone I have read in her generation. But in her 'horizontal' approach to the myriad ways in which the French avant-garde responded to the parameters of what is here called the 'age of cinema,' Wild achieves more than deep erudition: she has invented a new way of crossing the fields of cinema studies and art history."—George Baker, author of The Artwork Caught by the Tail: Francis Picabia and Dada in Paris

The Parisian Avant-Garde in the Age of Cinema, 1900–1923, disrupts a stabilized sense of ‘cinema’ that has shaped the history of modern art and asks how that history would need to be rethought in order for a more accurate and complicated version of cinema to come into view. Jennifer Wild draws on a strong grasp of both modern art and film historical scholarship, as well as an impressive amount of archival research, to make important contributions to cinema and media studies, art history, theater and performance studies, and literary studies.”—Karen Beckman, author of Crash: Cinema and the Politics of Speed and Stasis

“An extremely rich and wide-ranging study of the intersection between avant-garde painting and literature and the emergent popular art form of cinema in the early decades of the twentieth century. Magisterial in both the breadth and depth of its analysis and meticulous in its research, this book will have a considerable impact on the fields of art history, film history, and French cultural history.”—Elizabeth Ezra, author of Georges Méliès: The Birth of the Auteur

"From the effects of projection on early Picasso to the ubiquitous “Chaplin effect,” cinema was woven into the fabric and design of French avant-gardism. Jennifer Wild trains the light of cinema on myriad poets and artists whose work glows anew, while they in turn used films as visual “diagrams” or as a lethal “ballistics.” Bolstered by an astounding bibliography and a wealth of anecdotes, Wild moves effortlessly through Paris, like the movies themselves. You come away astonished at the boldness of this culture, at the boldness of this artform, and especially at the boldness of this scholar who has ingested this period like few before her."—Dudley Andrew, Yale University

Monday, March 30, 2015

Matchbox from Cuba features Louise Brooks

This vintage matchbox from Cuba features Louise Brooks (on the front), as well as Greta Garbo and Antonio Moreno in a scene from what I believe is The Temptress (1926). The matchbox recently sold on eBay, and measures 2 11/16 by 1 3/4 by 1/2 inch. It promotes cigarettes.

front view




Saturday, March 28, 2015

Louise Brooks Returns to Detroit in Pandora's Box

On March 28th, the Redford Theatre in Detroit is set to screen Pandora's Box, the sensational 1929 silent film starring screen legend Louise Brooks. For Metro Detroiters, it's a special opportunity to see one of the great films of the silent era on the big screen of a restored 1928 theater.



Saturday's chance to see Pandora's Box is all the more special because Brooks and Detroit have something of a history.

Before she entered films, Brooks was a dancer. For two years, Brooks toured with Denishawn, the leading American dance company of the teens and twenties. Led by greats Ruth St. Denis and Ted Shawn, the company's members were a who's who of those who helped shape modern dance. During her two seasons with Denishawn, the teenage Brooks danced alongside such legendary figures as Martha Graham, Charles Weideman and Doris Humphrey.

Dance played an important role throughout Brooks' career. In the opening scene in Pandora's Box, the actress performs a short dance -- a riff off something Brooks had recalled from an earlier Denishawn routine. Later in life, Brooks would remark, "I learned to act by watching Martha Graham dance, and I learned to dance by watching Charlie Chaplin act."

Denishawn visited Detroit on two occasions -- first in March 1923, and then again in March 1924, where they performed at Orchestra Hall. According to newspaper accounts, the company enjoyed large crowds and received favorable reviews. Ultimately, it was as an actress that Brooks made an impression on the Motor City -- especially its film critics.

In the 1920's, Detroit was a three-paper town. There was the Detroit News and Detroit Free Press, as well as the now defunct Detroit Times. Also covering local arts and entertainment was a weekly called Detroit Saturday Night. Each of these publications reviewed films, and each went out of its way on more than one occasion to single-out Brooks. Their praise was more than just the era's usual ballyhoo.


Charles J. Richardson of the Detroit Times, for example, reviewed The American Venus -- a 1926 romantic comedy which first brought Brooks her first reviews. Richardson wrote, "Louise Brooks, the former Follies chorine, makes her film debut in the production and does well in a small role. This Miss Brooks just now is the patron saint of all chorus girls seeking admittance into the sacred ranks of screen players." Harold Hefferman, writing in the Detroit News, also noticed the young actress. He wrote, "Louise Brooks, a black-haired boyish-bobbed entry ... cuts quite a figure."

Hefferman would go on to lavish praise on the actress throughout the 1920s. The Detroit News critic nearly gushed while reviewing Brooks' next film, A Social Celebrity. "Louise Brooks, possessing one of the most striking and expressive faces ever to come to the screen, plays the heroine in a saucily successful manner." Meanwhile, Richardson at the Detroit Times continued to express similar sentiments in his many reviews. Writing about the 1927 film, Rolled Stockings, Richardson proclaimed "Louise Brooks, as usual, is delightful to gaze upon." Back then, some critics wore their hearts on their sleeves.

The actress' admirers were not limited to the city's male critics. Ella H. McCormick of the Detroit Free Press also singled out the actress. "Louise Brooks is the nifty stepper," she wrote in May 1926. A month later, reviewing It's the Old Army Game, McCormick observed, "W.C. Fields scored a splendid triumph in this picture. A great part of the success of the offering, however, is due to Louise Brooks, who takes the lead feminine part." In her review of Just Another Blonde later that year, McCormick pronounced, "Miss Brooks is one of the best brunette contradictions to the lighter hypothesis that can be found on the silver screen."


In the mid-1930s, as her film career started to fade, Brooks returned to dance -- and once again returned to Detroit. With a partner, Brooks found work as a ballroom dancer in nightclubs, theaters, and other Midwest hotspots.

In August 1934, Brooks performed at the Blossom Heath Inn in what is now St. Clair Shores. Today, that venue -- located on Jefferson Avenue between 9- and 10-mile road -- hosts weddings and other events, but back then the Blossom Heath Inn was a popular road-house just outside Detroit city limits.

At the time of her month-long engagement, both the Free Press and News ran the following notice in their respective nightclub column. "Edward Fritz, proprietor of the Blossom Heath Inn, announces the engagement of the season's greatest floor show, headed by Louise Brooks, motion picture star, and Dario, creator of the Bolero from the motion picture Bolero. Several other new acts are included." It was a dénouement to a remarkable career.

Within a few years, Brooks would appear in her last film (a B-Western with John Wayne), leave Hollywood, and sink into decades of obscurity. In the 1950's and 1960's, Brooks and her three great European films -- Pandora's Box, Diary of a Lost Girl, and Prix de Beauté -- were rediscovered. Today, this once forgotten actress is legendary as Lulu in G.W. Pabst's 1929 masterpiece.

In a thoughtful article in the Metro Times in 2006, Michael Hastings wrote, "Has there ever been a more perfect, more tragic, more mythic fusion of actor and character than Louise Brooks' Lulu in Pandora's Box? The girl with the "black helmet" hairdo may not have been German, and she certainly didn't go on a date with Jack the Ripper, but just about everything else in Brooks' life leading up to and following her signature 1929 role became, in some weird, extrasensory way, the blueprint for director G.W. Pabst's masterpiece of sexual suggestion."

Detroiter's will have a chance to see for themselves on Saturday, March 28th when the Redford Theatre (17360 Lasher Road) screens a 35mm print of Pandora's Box. John Lauter will accompany the film on the theatre's original 3 manual, 10 rank Barton Theatre Pipe Organ. Pandora's Box will be introduced by film historian and Detroit Free Press writer John Monaghan. A post-film discussion "about Brooks' lasting impact on film and fashion" will follow.



Tuesday, March 24, 2015

Redford Theater proclaims Pandora's Box this Saturday



The Redford Theatre in Detroit will screen Pandora's Box (1929) on Saturday, March 28th at 8 p.m. (see previous post for further information). The Redford Theatre, with its original 3 manual, 10 rank Barton Theatre Pipe Organ, has served as a Metro Detroit entertainment center since it opened on January 27, 1928. It is a fine example of a "neighborhood theatre."

The historic Redford Theatre is located at 17360 Lahser Road in Detroit, Michigan. The theatre is owned and operated by the non-profit Motor City Theatre Organ Society. The theatre is operated by an all-volunteer staff, with proceeds from programs presented at the Redford used to restore and maintain the theatre building.

Monday, March 23, 2015

Pandora's Box with Louise Brooks plays in Detroit, MI on March 28

The Redford Theatre in Detroit will screen Pandora's Box (1929) on Saturday, March 28th at 8 p.m. The Redford Theatre, with its original 3 manual, 10 rank Barton Theatre Pipe Organ, has served as a Metro Detroit entertainment center since it opened on January 27, 1928 -- just a year before the legendary Louise Brooks' film opened in Berlin.

The historic Redford Theatre is located at 17360 Lahser Road in Detroit, Michigan. The theatre is owned and operated by the non-profit Motor City Theatre Organ Society. The Redford Theatre is operated by an all-volunteer staff. Proceeds from programs presented at the Redford are used to restore and maintain the theatre building (depicted below).

On it's Facebook page, The Redford Theater, posted this: "VINTAGE FILM FANS PLEASE SHARE THIS: Rare screening of PANDORA'S BOX, 1929 silent starring LOUISE BROOKS, the movie's first and most beautiful femme fatale - the movie the American actress went to Germany to make with G.W. Pabst. The 8 pm Saturday, March 28 event includes a rare, uninterrupted 35mm print of the film, organ accompaniment by the amazing John Lauter, intro by writer and film historian John Monaghan, and a post-film discussion where you get to talk about Brooks's lasting impact on film and fashion. Downton Abbey's Lady Mary even adopted her iconic hair style!!!! SHOW YOUR SUPPORT FOR OLDER MOVIES AT THE REDFORD BY ATTENDING THIS FILM!!!!! Share, share, share."


Thanks to Mark G. Sun for word about this event.

Saturday, March 21, 2015

About Rochester NY where Louise Brooks had lived

Here is a New York Times story about Rochester, New York - the city where Louise Brooks lived for the last part of her live. Check it out.


Friday, March 20, 2015

Louise Brooks as decorative art in real estate photograph

Louise Brooks is depicted in an artwork above a bed in this real estate listing. Louise Brooks is the second image from the left. I can't quite identify the the others, maybe that's Pola Negri to the right of Louise.


Wednesday, March 18, 2015

Rogue'z Theatre Company play about Louise Brooks, The Winter Gift

The Rogue'z Theatre Company play about Louise Brooks, The Winter Gift, is being performed for three nights next month, in the Chapter Arts Centre in Cardiff, South Wales. Details at 
http://www.chapter.org/roguez-theatre-present-winter-gift


Rogue'z Theatre present: The Winter Gift
NERO-Film Studios, Berlin, 1928 – a fun-loving young American actress and a strait­laced German director make a film destined to become a classic of the silent screen.

Slum tenement flat, New York, 1955 – an alcoholic, penniless, washed-up star of the silent screen hears a knock on the door. Someone has found Louise Brooks...

The Winter Gift, premiered to great acclaim last year in the Wales Millenium Centre, tells the story of Pandora's Box and the men and women who made it – and what happened afterwards...

£11/9

Tuesday, March 17, 2015

Sale on The Diary of a Lost Girl (Louise Brooks edition)

Double Your Luck | 34% off Your Book | SHOP NOW
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The Diary of a Lost Girl (Louise Brooks edition)
Use code DOUBLE by the end of March 18 and save!

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Praise for the original edition of THE DIARY OF A LOST GIRL:
The “poignant story of a great-hearted girl who kept her soul alive amidst all the mire that surrounded her poor body.” – Hall Caine

“The fact that one German critic asserted the impossibility of a woman herself immune from vice having written such a book, is proof that besides truth of matter there was compelling art in Margarete Böhme’s book.” – Percival Pollard 

“The moral justification of such a publication is to be found in the fact that it shrivels up sentimentality; the weak thing cannot stand and look at such stark degradation.” – Manchester Guardian

Sunday, March 15, 2015

What will they think of next.... Louise Brooks soap

What will they think of next? Found this image of Louise Brooks soap for sale on eBay. The product description reads: "CJs Collector Handmade Soap with clear glycerin. With image of Silent Screen Star, Louise Brooks. Soap is very gentle on the skin. With Vanilla fragrance nutmeg added. Approximate size is 3 x 2 1/4 x 1/2."


Saturday, March 14, 2015

Louise Brooks' drawings in Rochester, New York

Tim Moore posted on Facebook that Hogan's Hideaway, a restaurant not far from Louise Brooks' longtime Rochester, New York residence, has moved their drawings of the actress to their maitre d' station / loo area. And, they've added a write-up about the star. [The image at the top left, however, resembles Clara Bow.]


Tim also noted: "The place was a grocery when Brooks moved to the neighborhood in '62. Not her closest option. The Hideaway, opened in 1980, was a bistro in the back while she was alive; now the grocery is gone, the restaurant is up front, and a bar is in back."


Thursday, March 12, 2015

Magnificent Frank Martin drawing of Louise Brooks

This magnificent, wonderful 1974 Frank Martin drawing of Louise Brooks is up for auction through Bonham's in the UK. I think it is grand. The work was reproduced in Victor Arwas and John Kobal's Frank Martin; Hollywood - Continental (Academy Editions/St. Martin's Press, 1988), on page 19. Also, the Tate in London hold an edition of this print in their collection. If anyone would like to purchase it and donate it to the Louise Brooks Society.....



Lot 239AR
Frank Vernon Martin (British, 1921-2005)
'Louise Brooks', 1974
£2,000 - 3,000
US$ 3,000 - 4,500


1 Apr 2015 11:00 BST


Lot Details
Frank Vernon Martin (British, 1921-2005)
'Louise Brooks', 1974
drypoint on copper, with hand tinting, a portrait of the famous film star wearing a sheer blouse against a fantastical Cubist background; an Artist's Proof aside from an edition of 100, with full margins, unframed
10 ½ x 14 ½ in. (26 x 37 cms), titled and signed by artist in pencil

From the 2005 Guardian UK obit of the artist:
Martin's career as a commercial illustrator developed simultaneously. On leaving St Martin's, he began as a fashion illustrator for the Sunday Times, but his many commissions included advertising, books - such as Ursula Bloom's 1959 novel, Youth At The Gate, The Readers' Digest Bedside Book Of The Art Of Living (1956), The Manual Of Catholic Prayer (1962) and the letterhead for Evelyn Waugh's stationery.
Most of Martin's freelance career was involved with books - from the jackets to the illustrations. His most significant contribution was for the Folio Society, for which he illustrated 12 volumes, from Thornton Wilder's The Bridge Of San Luis Rey, in 1956, to Shakespeare's Titus Andronicus in 1988. His illustrations for the Folio edition of Stendhal's Scarlet And Black in 1965 have been called one of the best series of postwar English illustrations.
A fine and instinctive draughtsman, Martin produced work that is bold, decorative and good-humoured, although he could be too unsubtly fascinated by the female figure.
As a boy, Martin had been enthralled by the stars of the silver screen, and his love of the iconography of film found expression in the Hollywood series he began in the 1960s. Working with the grain of the wood, he turned glamorous screen stills into prints. The artists he created images of included Tallulah Bankhead, Clara Bow, Greta Garbo, Lillian Gish, Jean Harlow, Rita Hayworth and Greta Garbo, as well as the Ziegfield Follies, the Keystone Cops and Montgomery Clift. They are perhaps his most celebrated work.
Martin held his first one-man show in 1956. In all, there were 25 exhibitions at, among other venues, the Folio Society, the National Film Theatre, the Lyric Theatre, Hammersmith, and the Leeds International Film Festival. Overseas, he exhibited in Berlin, Dublin, New Zealand and the United States. He was elected a fellow of the Royal Society of Painter-Etchers and Engravers in 1961, a member of the Society of Industrial Artists and Designers in 1959, and an honorary academician of the Accademia delle Arti del Disegno of Florence in 1965.

Wednesday, March 11, 2015

Artist Barbara Chase image of Louise Brooks

I rather like this new portrait (Painting - Acrylic On Canvas) of Louise Brooks by artist Barbara Chase, available through FineArtAmerica. Check it out.


Tuesday, March 10, 2015

New Louise Brooks soundtrack CD from Wurlitza

Wurlitza, a five piece band from South East Cornwall (in the UK), have released a CD featuring their new soundtrack to the 1929 Louise Brooks' film, Diary of a Lost Girl.  I just got my copy in the mail, and here are scans of the recording.



Recorded live at Goodmerry Farm Studios in Cornwall (UK), the CD features 20 tracks from Wurlitza's soundtrack. The recording will be on sale at upcoming performances (see list below), or  can be ordered by post by emailing wurlitza@wurlitza.co.uk. (£8+£2 p+p in the UK). The band accepts PayPal. I encourage Louise Brooks fans everywhere to order a copy.

Saturday 14th March 2015 - Diary of a Lost Girl. A Calstock Arts event at The Old Chapel, Calstock, Cornwall

Sunday 22nd March 2015 - Diary of a Lost Girl. Wadebridge Cinema, Cornwall. 7:30pm.
 

You can learn more about the band and their music on their Facebook page, or listen to the soundtrack via Soundcloud. Band members are Dave Stroud - bass guitar; Lizzy Stroud - piano/keyboard, clarinet, vocals; Lil Lanyon - guitar, vocals; Claire Abbott - drums/percussion, vocals.


Monday, March 9, 2015

The Jesus And Mary Chain ♫ Just Like Honey (( Special Louise Brooks ))

The Jesus And Mary Chain sing "Just Like Honey" to imagery of Louise Brooks. I like this video, as I had seen the Jesus And Mary Chain perform in San Francisco in the late 1980s at the old I-Beam on Haight Street.

Sunday, March 8, 2015

Today in Toronto, Louise Brooks in Beggars of Life

Tonight in Toronto, Canada, The Revue Cinema will screen the classic 1928 silent film, Beggars of Life, staring Louise Brooks, Wallace Beery and Richard Arlen. Start time is 4:15 pm, according to the Toronto poster case pictured at the left.

Visit the Revue Cinema website for more information.

And, be sure and check out the Revue Cinema Twitter account for a really cool graphic!

Saturday, March 7, 2015

Louise Brooks on David Thomson book, Moments that Made the Movies

The great Tim Moore, Louise Brooks fan extraordinaire, spotted this book on the shelf at a local bookstore. Tim wrote:
Seen tonight at bn: "Moments That Made the Movies," David Thomson (2013). 120 years, 300 pages of images ... and who's that, glancing from the top of the spine? Louise Brooks in "Pandora's Box" (1928).

Friday, March 6, 2015

Louise Brooks Pendants

A Louise Brooks fan named Jann White has created a set of Louise Brooks pendants which she sells through her Etsy page, Relica Design. The pendants are 1" images of the actress under glass, set in silver on a silver chain. Pretty neat.

Jann White wrote to the Louise Brooks Society, "I am from Cherryvale, Kansas, having lived only a couple of blocks from where Miss Brooks lived, (and several years apart!), I have had an interest in her for quite some time." Check 'em out.


Wednesday, March 4, 2015

William Wellman's Beggars of Life with Louise Brooks screens in NYC

The terrific William Wellman directed film, Beggars of Life, starring Louise Brooks, Wallace Beery and Richard Arlen, will be shown at the Film Forum in New York City on Monday, May 4th.  And what's more, William Wellman, Jr (son of director) will introduce his father’s 1928 film. Copies of  Wellman’s new book Wild Bill Wellman: Hollywood Rebel will be on sale at the Film Forum concession, with a book signing to follow the screening. Start time is 7:50 pm.


Who knows the subtle link between Beggars of Life and the film depicted on the cover of William Wellman Jr.'s new book?


Here is the publisher description of Wellman's new book, coming from Pantheon on April 7, 2015: "The extraordinary life−the first—of the legendary, undercelebrated Hollywood director known in his day as "Wild Bill" (and he was!) Wellman, whose 82 movies—many of them iconic, many of them sharp, cold, brutal, others poetic, moving—all of them a lesson in close-up art—ranged from adventure and gangster pictures to comedies, aviation, romance, westerns, and searing social dramas: His pioneering, daring picture-making forever changed Hollywood and the way movies were made.

Now, William Wellman, Jr., drawing on his father's unpublished letters, diaries, notes, and unfinished memoir, gives us the first full portrait of the man—the son, the husband, the father, director, artist.

Wellman directed Hollywood's biggest stars during three decades, including Gary Cooper, Clark Gable, Barbara Stanwyck, Henry Fonda, Gregory Peck, John Wayne, Lauren Bacall, Clint Eastwood, Robert Mitchum. He made pictures with producers like Darryl Zanuck, Nunnally Johnson, David O. Selznick, Howard Hughes among them . . .

David O. Selznick called him, "One of the motion pictures' greatest craftsmen." Robert Redford described him as, "Feisty, independent, self-taught, and self-made.  He stood his ground and fought his battles for artistic integrity, never wavering, always clear in his film sense . . . He has left a great gift in the annals of film achievement."   

Among Wellman's iconic pictures: the pioneering WWI epic, Wings (winner of the first Academy Award for best picture); Public Enemy (the toughest gangster picture of them all); Nothing Sacred (the classic social screwball comedy satire); the original A Star is Born (Wellman co-wrote and directed it); Beggars of Life; The Call of the Wild; Beau Geste; The High and the Mighty . . . and many more of equal distinction and greatness."

Tuesday, March 3, 2015

Louise Brooks by Rick Geary

Comix great Rick Geary posted this drawing of Louise Brooks to my Facebook page, and I wanted to share it with everyone. (Geary is actually a distant relation of Brooks.) I for one can hardly wait for his new book, Louise Brooks, Detective (NBM Publishing - June 1, 2015) to be released in a few months.

Here is the publisher description of Louise Brooks, Detective: "A fictional story centered on actress Louise Brooks, this graphic novel by Rick Geary is spun around her actual brief meteoric career as a smoldering film actress who popularized bangs. Geary fantasizes about her coming back to her home town of Wichita where she becomes intrigued by a murder involving a friend, a famous reclusive writer and a shady beau. Not before she gets herself in great danger will she emerge with the solution the police fail to grasp."


Another of Rick Geary's earlier books is of related interest and also well worth checking out. Famous Players: The Mysterious Death of William Desmond Taylor (NBM Publishing) was published in 2009. Check it out.

Sunday, March 1, 2015

Cineteca di Bologna announces a multi-year project to restore Buster Keaton works

Big news for fans of Buster Keaton....

After dedicating over a decade to Charlie Chaplin's films and archive, Cineteca di Bologna and l'Immagine Ritrovata have announced they will restore Buster Keaton's silent films. The first restorations will be presented next summer in Bologna during the XXIX edition of Il Cinema Ritrovato Film Festival.

The unforgettable works of another great master of silent cinema will be brought to life again thanks to Cineteca di Bologna and Cohen Film Collection at L'Immagine Ritrovata laboratory in Bologna: after devoting more than a decade to Charles Chaplin, now Buster Keaton's entire silent works will be the focus of a multi-year restoration project which will allow audiences from around the world to rediscover Buster Keaton's genius.

The first restorations of the Keaton Project, launched and promoted by Cineteca di Bologna and Cohen Film Collection, will be presented during next edition of Il Cinema Ritrovato festival (June 27th through July 4th): the 1920 short comedy One Week, which encapsulates perfectly the American collective imagination of prefabricated housing and Sherlock Jr. made in 1924 and listed in by the "Time" as one of the best 100 films ever.

Louise Brooks admired Buster Keaton (a fellow Kansas-native), and wrote about him.
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