Showing posts with label book. Show all posts
Showing posts with label book. Show all posts

Monday, November 1, 2021

The Rise & Fall of Max Linder, and a couple of tenuous connections to Louise Brooks

A few months ago I received a copy of The Rise & Fall of Max Linder: The First Cinema Celebrity, a remarkable new biography by Lisa Stein Haven. The book, the first English language study of the life and art of the comedic great, is published by Bear Manor Media. I have been slowly making my way through it, not because it is slow going, but because I am relishing reading it. The Rise & Fall of Max Linder is an immersive biography. Reading it, absorbing its rich detail, learning about the life of someone I admittedly knew only little about made me feel like I was displaced back in time to the beginning of the 20th century. 

Before reading Haven's book, I was only a bit familiar with Linder. I knew that he was French. I had seen a few of his short films, and also knew that he was a comedic actor and had influenced Charlie Chaplin. That's about it - except for a tenuous connection to Louise Brooks, which I mention later. What is remarkable about Haven's book is that it pulls back the curtain on a time and place long ago and reveals a distant world from which this comedic genius sprang. That is revelatory.

Max Linder was born Gabriel Leuvielle in St. Loubes, France in 1883; he started in films with the Pathe Brothers in 1905, making him one of the first film comedians to achieve world-wide renown. In fact, according to Haven, there is evidence that Linder was the first screen celebrity to see his name in print. His comedy timing and gags -- Linder started writing his own scenarios early on -- have been copied and imitated by many of his followers, including Charlie Chaplin. (Upon receiving the news of Linder's death, Chaplin is reported to have closed his studio for a day out of respect.)

Notably as well, his high society characterizations as the dapper "Max" also influenced such actors as Adolphe Menjou and Raymond Griffith. (Louise Brooks played in two films opposite Menjou, A Social Celebrity and Evening Clothes, and appeared in another, God's Gift to Women, which was co-authored by Griffith.)

Just how big was Linder? The universality of silent films brought Linder fame and fortune throughout Europe, making him the highest paid entertainer of the day. By 1910, he had become the most popular film actor in the world, and is thought to be the very first movie star with a significant international following. In Russia, he was voted the most popular film actor, ahead of Asta Nielsen. He also had a Russian impersonator, Zozlov, and a devoted fan in Czar Nicholas II. Another professed fan was British playwright George Bernard Shaw. The first feature film ever made in Bulgaria was a remake of one of Linder's earlier movies. He was offered $12,000 to spend a month in Berlin making public appearances with his film screenings, but declined for health reasons. Later, in 1911 and 1912, he began touring Europe with his films, including Spain, where he entertained thousands of fans, as well as Austria and then Russia, where he was accompanied on piano by a young Dimitri Tiomkin. 

via Lisa Stein Haven

Spoiler alert: Of course, nothing lasts forever, and Linder's story is both a comedy and a tragedy. His meteoric rise to fame beginning in 1907/1908 hit a roadblock in 1914 with the onset of World War I, and was dealt a death blow by his attempts to revive his career in America and Austria (and in a changing world). His marriage to a young wife was ill-fated and ill-timed, leading Linder to take the life of his wife and himself on the night of October 31, 1925. Linder himself died on November 1, 1925 - 76 years ago today, leaving behind a 16-month-old daughter named Maud who would devote her life to restoring his film legacy. 

I mentioned a tenuous connection to Louise Brooks. Actually, there are two. The first is the famed singing Frenchman, Maurice Chevalier, who is best known to devotees of Brooks as the singer who popularized "Louise" (a song not about Brooks, though long associated with her). Along with director Abel Gance, Chevalier was once one in the company of actors employed by Linder.

In his native France, Linder was a superstar, hugely popular to the degree that a movie theater was opened in Paris which bore his name. Of course, it showed more than just Linder films. In fact, it was at the Max Linder Pathe (located at 24 boulevard Poissonnière in Paris) that Brooks' sole French film, Prix de beauté, debuted on May 9, 1930. To open at the 1,200 seat Max Linder Pathe was considered an honor, and Brooks' film rose to the challenge and proved popular. At the time, most films played a few days or a week before moving on. However, as this ad shows, Prix de beauté was a hit, and ran more than "2eme mois" or two months at the Max Linder Pathe.

The Max Linder theater is still open to this day, helping keep the memory of this comedic actor alive. I would encourage anyone interested in early film to check out The Rise & Fall of Max Linder: The First Cinema Celebrity. It is a good read.

 


Lisa Stein Haven is an Professor of English at Ohio University Zanesville, specializing in British and American modernist literature, the Beat poets and silent film comedy, especially the work of Charlie and Syd Chaplin, Buster Keaton and Max Linder. In 2010, she organized and hosted "Charlie in the Heartland: An International Charlie Chaplin Conference" at Zanesville, which was attended by participants from 11 countries outside of the United States.

In summer 2014, Haven was the keynote speaker at Charlot 100, a celebration of the 100th anniversary of Chaplin's Little Tramp persona, held in Bologna, Italy and sponsored by Roy Export S.A.S and the Cineteca di Bologna. She is also a member of the executive board for the Buster Keaton Celebration, held every year in Iola, Kansas. 

Stein's earlier books, which I have read and written about in the past, include another first ever study, Syd Chaplin: A Biography (McFarland, 2010), a book about Chaplin, A Comedian Sees the World (University of Missouri, 2014), and Charlie Chaplin’s Little Tramp in America, 1947–77 (Palgrave Macmillan, 2016).

via Cinema Treasures at http://cinematreasures.org/theaters/16578

Tuesday, June 9, 2020

A bit more from Around the World with Louise Brooks via the USA

As I blogged just recently, most all of the material in my forthcoming book, Around the World with Louise Brooks, have been sourced from international publications. The only exception is a chapter from volume one, "Mit Anderen Worten: Louise Brooks en los Estados Unidos," or "In Other Words: Louise Brooks in the United States." That chapter surveys the actress and her career through the voices of America's many non-English language ethnic and emigre newspapers and magazines.


To date, I have come across a handful of Spanish-American and German-American newspapers and magazines, as well as Italian, Portuguese, Polish, Hungarian, Russian, Yiddish and Japanese language American newspapers -- all of which carried material of interest. In each, I have found multiple examples of articles about Louise Brooks, advertisements for her films, and other "interesting" stuff. Much of it will go into Around the World with Louise Brooks. I also found a single advertisement for a Brooks' film, Evening Clothes, in a Slovenian-American newspaper, and it to has found its way into my book.

Another single instance find is an article which only mentions Brooks which was published in a Danish-American newspaper. Since it only references the actress, I won't be including it in the book besides mentioning it. Instead, I thought I would present it here, as it has such an interesting backstory.

This article, "Ungdom og Stjernetitler" or "Youth and Stars," was published in Bien, a weekly Danish language newspaper published in San Francisco, California. The article appeared on a page of news about Los Angeles and California, and was penned by Erling Bergendahl, a young Norwegian writer who lived for a short time in the United States. This piece was one of two Bergendahl penned for Bien about Hollywood. (BACKSTORY ASIDE: Bergendahl was mention two other times in this Danish-American newspaper. The first time was in 1925 in regards to a lecture or talk he gave in Minneapolis. The second time was in December of 1927 in regards, apparently, to a party he attended at Jean Hersholdt's home at which Swedish actor Lars Hanson was also present. In this later piece, Bergendahl was described as an author.)

Dated January 1928 (though published in a June issue), Bergendahl's "Youth and Stars" looks at the film careers of a handful of up-and-coming Paramount actors, including Ruth Taylor, Charles Rogers, Nancy Carrol, Richard Arlen, Louise Brooks, Gary Cooper, Fay Wray, James Hall, Lene Chandler, Mary Brian and Jack Luden. Bergendahl assesses each actor. In a paragraph on Richard Arlen, Bergendahl states, "Louise Brooks, Arlens Hustru, har ikke haft nogen særlig optræden endnu, og forfatteren av denne artikel har ingéh ovedreven tro paa hendes stjernefremtid. Det samme gjælder James Hall," which translates into English as "Louise Brooks, Arlen's partner, hasn't had any special performances yet, and the author of this article has no great belief in her future stardom. The same goes for James Hall." Fair enough, as Brooks' best performances - including A Girl in Every Port and Beggars of Life and her three European films, were still ahead of her.

Not long after this piece was written, Bergendahl - broke and homesick, returned to Norway after being lent money for the passage by a friend, the Czech-born American talent agent and producer Paul Kohner. (BACKSTORY ASIDE: Among his various credits, Kohner was an associate producer of the 1930 American version of G.W. Pabst's 1929 film White Hell of Pitz Palu, which was released by Universal and once played on a bizarre double bill in Hollywood with the 1931 Brooks' film, It Pays to Advertise. As a Czech-emigre, Kohner was also friendly with another Czech-born talent tied to Pabst, actor Franz Lederer. Brooks'  Pandora's Box co-star and Kohner were friends in Hollywood in the early 1930s.)

Small world, you might say. But here is where things get interesting all over again.... Kohner was also the future husband of Mexican-American actress Lupita Tovar, one of the stars of the Spanish-language version of Dracula. According to the 2010 book, Lupita Tovar the Sweetheart of Mexico, by Pancho Kohner, when "asked how he could repay the kindness [of the loan],  Paul suggested an introduction to Bergendahl's friend, the Norwegian Nobel Prize-winning author, Knut Hamsun. On his next trip to Europe, Paul and Erling visited Hamsun on his farm, south of Oslo. Hamsun was grateful for Paul's generosity to his young friend, so when Paul ashed if he could buy the film rights to his book Victoria, Hamsun said yes." (BACKSTORY ASIDE: Hamsun is considered a pioneer of literary modernism best known today for his 1890 novel Hunger. It has been reprinted many times, including once in 1998 in an edition which included an introduction by Paul Auster, author of Lulu on the Bridge. Hamsun's 1898 novel, Victoria, has also proved popular; it has been made into a film seven times. The first film adaption appeared in 1917, and the last nearly 100 years later in 2013 in a version produced by Pancho Kohner.)

Bergendahl's friendship with Hamsun wasn't his only literary connection. In the early 1930s, he  worked on a couple of Norwegian features, directing one and producing another. Bergendahl wrote and co-directed Lalla vinner!, a Norwegian adventure story, in 1932. The following year, he produced Cheer Up!, an important but little known avant-garde backstage musical comedy directed by Tancred Ibsen (the grandson of two of Norway’s most famous nineteenth-century writers, dramatist Henrik Ibsen and Nobel Prize winner Bjørnstjerne Bjørnson). Cheer Up!, originally titled Op med hodet, is a fascinating, bold, experimental work well worth checking out. However, it failed upon release in Norway and Bergendahl's film career pretty much ended with it. Later, he went on to become a successful businessman, representing Columbia Pictures and acting as President of the Norwegian Film Producer's Association. (Bergendahl may have also directed or somehow been involved in a film which aided the post-WWII recovery in Norway, as this clipping from Bien seems to suggests.)



I couldn't find a picture of  Erling Bergendahl to include with this blog, but I found his life story an interesting one - one spurred on by an ever so slight connection, a thread really, with Louise Brooks.

Monday, January 27, 2020

New Book on German Cinema features Louise Brooks

A book on German cinema has recently been published in Italy which features Louise Brooks. Cinema tedesco: i film (or German Cinema: the films) edited by Leonardo Quaresima, was published at the beginning of 2019, but just came to my attention when I received a message from one of the contributors, Giuliana Disanto. She wrote, "I'd like to inform you about a publication of my essay, "Il vaso di Pandora di Georg Wilhelm Pabst. Dalla parola alla visione," or "Pandora's Box by Georg Wilhelm Pabst. From word to vision." Disanto, who teaches at the University of Salento, added that her 21 page essay interest to the members of the Louise Brooks Society. She is right. More information about the book is available (in Italian) HERE.

According to the publisher in Italian: "Lungo l’arco della sua traiettoria, il cinema tedesco ha avuto a più riprese grandissimo rilievo, esercitando anche un ruolo di punta sul piano internazionale. Il volume ripercorre questa storia attraverso una selezione dei film che ne sono stati protagonisti: dalla stagione del “cinema d’autore” degli anni Dieci, in cui il nuovo mezzo si avvalse della collaborazione dei più noti protagonisti della scena letteraria e teatrale dell’epoca, al periodo weimariano, caratterizzato dalle invenzioni del cinema espressionista e dalla messa a punto di un complesso, raffinato sistema linguistico; dalla fase che accompagna gli anni del nazismo, in cui si fa portavoce delle parole d’ordine del regime, ma anche delle sue, ancor oggi dibattute, contraddizioni, al periodo apparentemente più provinciale dell’immediato dopoguerra, oggetto peraltro di riletture e riconsiderazioni in anni recenti; dall’exploit del Neuer Deutscher Film, che riporta il cinema tedesco a una posizione preminente nel contesto europeo, alla situazione degli ultimi decenni, orientata verso gli standard del racconto internazionale, ma non senza varchi verso modelli autoriali e sintesi tra questi due ambiti."

According to the publisher in English: "Over the course of its trajectory, German cinema has been important on several occasions, exercising a leading role on the international level. This volume traces this story through a selection of the star films: from the "auteur cinema" of the 1910s, in which the new medium made use of the collaboration of the best known protagonists of the literary and theatrical scene of the time, to the Weimar period, characterized by the invention of expressionist cinema and the development of a complex, refined linguistic system; from the phase accompanying the years of Nazism, in which it spoke the slogans of the regime, but also of its still debated contradictions, to the apparently more provincial period of the immediate post-war period, the subject of re-readings and reconsiderations in recent years; from the exploit of Neuer Deutscher Film, which brings German cinema back to a pre-eminent position in the European context, to the situation of the last decades, oriented towards the standards of international narrative, but not without gaps towards authorial models and synthesis between these two areas." The book includes essays by Paolo Bertetto, Francesco Bono, Lorella Bosco, Sonia Campanini, Simone Costagli, Giulia A. Disanto, Luisella Farinotti, Antioco Floris, Matteo Galli, Massimo Locatelli, Francesco Pitassio, Leonardo Lent, Luigi Reitani, Giovanni Spagnoletti, Domenico Spinosa, and Anita Trivelli.

Leonardo Quaresima, the editor, is Senior Professor at the University of Udine. In Germany, he curated, in particular, the revised and expanded edition of From Caligari to Hitler by Kracauer (2004), the Italian edition of The Visible Man by Balázs (2008), and the writings of Joseph Roth on cinema (2015). His other publications are focussed on Leni Riefenstahl (1985), Edgar Reitz (1988), Walter Ruttmann (1994).


Cinema tedesco: i film is available on amazon in Italy, France, Germany, England and elsewhere including either as a print book or as an ebook. I just ordered the ebook / kindle version from amazon in the United States.

Thursday, January 23, 2020

Louise Brooks and Women of the 1920s: Style, Glamour, and the Avant-Garde

I finally got a copy of a recently published book, Women of the 1920s: Style, Glamour, and the Avant-Garde by Thomas Bleitner. This 176 page book, which was published in September in the United States by Abbeville, looks at the lives of seventeen influential women of the Jazz Age including Louise Brooks. A bit more information about the book can be found HERE.

According to the publisher, "It was a time of unimagined new freedoms. From the cafés of Paris to Hollywood's silver screen, women were exploring new modes of expression and new lifestyles. In countless aspects of life, they dared to challenge accepted notions of a “fairer sex,” and opened new doors for the generations to come. What’s more, they did it with joy, humor, and unapologetic charm.

Exploring the lives of seventeen artists, writers, designers, dancers, adventurers, and athletes, this splendidly illustrated book brings together dozens of photographs with an engaging text. In these pages, readers will meet such iconoclastic women as the lively satirist Dorothy Parker, the avant-garde muse and artist Kiki de Montparnasse, and aviation pioneer Amelia Earhart, whose stories continue to offer inspiration for our time. Women of the 1920s is a daring and stylish addition to any bookshelf of women's history."

Among the other notable women profiles in Women of the 1920s: Style, Glamour, and the Avant-Garde are Zelda Fitzgerald, Nancy Cunard, Tamara de Lempicka, Lee Miller, Claude Cahun, Clara Bow, Anita Berber, Josephine Baker, and Elisa Schiaparelli. Early on, Lee Miller saw Brooks dance when Brooks was a member of Denishawn. Once Brooks entered the movies, she became acquainted with Clara Bow, and later met Zelda Fitzgerald and Josephine Baker (and possibly Dorothy Parker).


The illustrated eight page chapter on Louise Brooks is, frankly, a superficial look at the actress' career. No new information is offered, and curiously, French director Rene Clair is referenced as "author Rene Clair."

Women of the 1920s: Style, Glamour, and the Avant-Garde does present Brooks as a glamorous style icon, but does not really establish any links to the avant-garde (which do exist). For example, Brooks was admired by the Surrealists (and her films were shown alongside Surrealist efforts); she was the subject of a portrait by a Bauhaus artist, was acquainted with individuals associated with modernism (aside from Edward Steichen, George Gershwin, and Jean Patou, who are noted), etc.... When mentioning Brooks tenure with the Denishawn Dance Company, the book fails to note Denishawn as a modernist enterprise. The only linkage to anything avant-garde is the correct, the loose association of Brooks' three European films with expressionism. (Want to see an expressionist film, watch The Cabinet of Doctor Caligari, or G.W. Pabst's Secrets of a Soul.)

For the general interest reader, Bleitner's Women of the 1920s: Style, Glamour, and the Avant-Garde is a satisfactory introduction to a fascinating period in gender and social history. The book contains a number of 'swonderful and appropriate images and illustrations - except, curiously, that the selection related to Brooks seem to be the those least satisfactorily reproduced.

#####

Want to read more about Louise Brooks and the avant-garde, check out this earlier LBS blog Louise Brooks, Modernism, the Surrealists, and the Paris of 1930.

Herbert Bayer's "Facing Profiles."

Friday, July 19, 2019

One month left to get My Afternoon With Louise Brooks

This worthwhile Kickstarter campaign only has one month left, thus... I encourage everyone to check out My Afternoon With Louise Brooks - a limited edition, signed and number hardback book by Tom Graves. This Kickstarter campaign has already run one month, so check it out NOW! More information about this very special project can be found HERE.


Pledging today guarantees you one of the 100 signed and numbered copies of My Afternoon With Louise Brooks, Tom Graves' critically-acclaimed long-form journalism article about his visit to the apartment of silent film recluse Louise Brooks.  As a bonus, this special edition book contains the childhood chapter of the aborted Louise Brooks biography that Tom Graves wrote prior to being de-authorized by Miss Brooks.  The book is approximately 80 pages in length. This will be entirely a Kickstarter funded special edition geared for the fans of Louise Brooks who wish to know precisely what it was like meeting the famed cult figure in her declining years.  When the Kickstarter goal is met production will immediately begin and funders will receive a copy of the hardcover collectible book shipped to their home.  The book is limited to 100 copies and will NOT be available after this press run.  So pledge now to secure your copy or copies. I HAVE, AND YOU SHOULD TOO!


Tom Graves is best known as a writer of gritty fiction and nonfiction including his biography of bluesman Robert Johnson, Crossroads. His most recent book is the critically-acclaimed White Boy: A Memoir, the story of how Graves overcame the racism of his family and city. He was also a writer and producer of the Emmy-winning film Best of Enemies about the acrimonious 1968 debates between Gore Vidal and William F. Buckley Jr. He owns the publishing company Devault Graves Books.

Tuesday, May 28, 2019

Clarence Brown : Hollywood's Forgotten Master (and some Louise Brooks connections)

One of the pleasures of the San Francisco Silent Film Festival is opportunity to meet some of the authors, scholars, and film world personalities in attendance at the annual event. I haven't missed a summer festival since it began in 1995, and over the years I have met everyone from actors Fay Wray and Sydney Chaplin (Charlie's son) to authors like Anthony Slide and Kevin Brownlow. There are others, including some with connections to the world of Louise Brooks.

Pamela Hutchinson and Thomas Gladysz
This year I renewed friendships with authors William Wellman Jr. and Pamela Hutchinson (author of the BFI book on Pandora's Box), and made a new acquaintance, film scholar Gwenda Young. She is a professor of film history and lecturer in film studies at University College, Cork, Ireland. Gwenda is also the author of numerous articles about film history, including three articles about Clarence Brown, and co-editor of two books of critical essays. In 2003, along with Kevin Brownlow, she curated a retrospective of Brown's films at the National Film Theatre, London.

Gwenda was on hand to promote the release of her excellent new book, Clarence Brown : Hollywood's Forgotten Master (University Press of Kentucky). It is a good read, well researched, and full of fascinating bits about early Hollywood, including Louise Brooks. It is highly recommend.

I won't attempt to summarize the book, but will instead offer this publisher synopsis: 
Greta Garbo proclaimed him as her favorite director. Actors, actresses, and even child stars were so at ease under his direction that they were able to deliver inspired and powerful performances. Academy–Award–nominated director Clarence Brown (1890–1987) worked with some of Hollywood's greatest stars, such as Clark Gable, Joan Crawford, Mickey Rooney, Katharine Hepburn, and Spencer Tracy. Known as the "star maker," he helped guide the acting career of child sensation Elizabeth Taylor (of whom he once said, "she has a face that is an act of God") and discovered Academy–Award–winning child star Claude Jarman Jr. for The Yearling (1946). He directed more than fifty films, including Possessed (1931), Anna Karenina (1935), National Velvet (1944), and Intruder in the Dust (1949), winning his audiences over with glamorous star vehicles, tales of families, communities, and slices of Americana, as well as hard-hitting dramas. Although Brown was admired by peers like Jean Renoir, Frank Capra, and John Ford, his illuminating work and contributions to classic cinema are rarely mentioned in the same breath as those of Hollywood's great directors.

In this first full-length account of the life and career of the pioneering filmmaker, Gwenda Young discusses Brown's background to show how his hardworking parents and resilient grandparents inspired his entrepreneurial spirit. She reveals how the one–time engineer and World War I aviator established a thriving car dealership, the Brown Motor Car Company, in Alabama―only to give it all up to follow his dream of making movies. He would not only become a brilliant director but also a craftsman who was known for his innovative use of lighting and composition."

In a career spanning five decades, Brown was nominated for five Academy Awards and directed ten different actors in Oscar-nominated performances. Despite his achievements and influence, however, Brown has been largely overlooked by film scholars. Clarence Brown: Hollywood's Forgotten Master explores the forces that shaped a complex man―part–dreamer, part–pragmatist―who left an indelible mark on cinema.

Clarence Brown's other early films include Trilby (1915), The Last of the Mohicans (1920), The Eagle (1925, with Rudolph Valentino), The Goose Woman (1925), Flesh and the Devil (1926), Kiki (1926), A Woman of Affairs (1928), Anna Christie (1930), Romance (1930). The last three starred Greta Garbo, and for the last two, Brown received an Academy Award nomination for Best Director. Another early effort is Brown's 1924 film, The Signal Tower, which was one of the films being shown at this year's event. (I had written an article for the Ukiah Daily Journal on The Signal Tower, which was filmed in Northern California.)

Any silent film buff should be well acquainted with Brown's body of work. (I have seen about ten of the above mentioned films, and wish to see more.) However, what piqued my interest in Gwenda Young's book were mentions of Louise Brooks. Young notes the Jazz Age's sometime preference for androgynous women (including Brooks), and later quotes the actress on John Gilbert's feminine masculinity. Young also quotes Brooks on Clarence Brown dislike of lesbians, despite his having worked with Garbo and other not-so-straight actors so often.

Quoting from Brownlow's interview with Brown, Young also discussed the director's racial attitudes. "Even more revealing, perhaps, was an anecdote he told about a feud he had with actress Louise Brooks over an incident that occurred back in the 1920s. While attending a party at her house, he had been shocked that she permitted her black guests to share the swimming pool with whites: 'If I've been sour to Louise Brooks it's because she and Eddie Sutherland [Brooks's then husband] didn't draw the color line'."

Gwenda's book is a honest portrayal of a flawed human being who was also a great director. And rightly so, the book has received a good deal of praise. The Wall Street Journal called it "A sweeping and elegantly written biography. It is as gracefully told, as delicate and memorable, as the best work of its subject. Young's book effortlessly portrays a man who never let the Hollywood system interfere with his filmmaking instincts." While Emily Leider, author of Myrna Loy: The Only Good Girl in Hollywood, said "Gwenda Young's research for her study of the films directed by Clarence Brown is beyond excellent. It is extraordinary."

I was very please to meet Gwenda Young at this year's Festival (she had come all the way from Ireland) and have her sign my book. UK film historian Kevin Brownlow, who wrote the foreword to the book and was also in attendance at this year's event, also signed my copy. My double autographed copy of Clarence Brown: Hollywood's Forgotten Master is a book I will long treasure!

Thursday, February 1, 2018

Louise Brooks adorns the cover of new edition of The Photoplay by Hugo Munsterberg

Louise Brooks adorns the cover of a new edition of The Photoplay by Hugo Münsterberg, as published by Duke Classics. First published more than 100 years ago, this early work of film theory is in the public domain and has been reprinted and reissued many times (and sometimes under slightly different titles) over the years. This is one of the latest editions. (Other notable actresses have also appeared on the cover of earlier editions.)

"In 1916, an eminent psychologist recorded his impressions of the fledgling film industry. His penetrating and prescient observations foretold the most modern developments of the cinematic art, and his classic survey, The Photoplay: A Psychological Study, remains a text of enduring relevance to movie historians as well as students of film and psychology.

Ranging from considerations of the viewer's perception of on-screen depth and motion to examinations of the cinema's distinguishing and unique characteristics as an art form, this study arrives at strikingly modern conclusions about movies and their psychological values."


Sunday, December 3, 2017

TODAY: Pandora's Box screens in London, England



Pandora's Box will be shown on December 3 in London, England at Phoenix Cinema (52 High Rd, East Finchley, London N2 9PJ). Time and ticket availability may be found HERE.  

The film will feature a live piano accompaniment by Stephen Horne, as well as an introduction by Pamela Hutchinson, author of a forthcoming BFI Film Classics book on Pandora’s Box.  

"A free-loving, status-climbing dancer takes up with a succession of lovers, gradually descending to the life of a streetwalker, and thus, her own doom. Lulu (Louise Brooks) lives beyond the constraints of time - she is a radiant, outrageous icon of modernity. In challenging moral conventions with depth and complexity, she has become a screen seductress like no other. Directed by G.W. Pabst in 1929, Pandora's Box is an acknowledged masterpiece of sensual imagery and remains an astonishingly modern work of art."

The Phoenix is very pleased to be welcoming film historian and author Pamela Hutchinson, who has recently written a book on Pandora’s Box for the BFI Film Classics series: Die Büchse der Pandora (Pandora’s Box, 1929), starring Hollywood icon Louise Brooks, is an established classic of the silent era. Pamela Hutchinson revisits and challenges many assumptions made about the film, its lead character and its star. Putting the film in historical and contemporary contexts, Hutchinson investigates how the film speaks to new audiences. She will be with us to introduce the film and will remain after the screening for an exclusive book signing. More about the book, which is pictured below.



Wednesday, November 19, 2014

Kickstarter coloring book includes Louise Brooks


A new Kickstarter campaign coloring book, Illuminating the Stars Vol. 1, will feature 33 stunning pen & ink drawings of Hollywood stars by Portland artist Alicia Justus. This 36-page, 9"x12" coloring book will have a beautiful full color cover, 34 black & white coloring pages, and will feature the following stars!

    Buster Keaton
    Olive Thomas
    Florence Lawrence
    Larry Semon
    John Gilbert
    Mary Pickford
    Fatty Arbuckle
    Mabel Normand
    Nina Mae McKinney
    Lya de Putti
    Martha Mansfield
    Lon Chaney
    Anna May Wong
    Mary Nolan (Bubbles)
    Lou Tellegen
    Roszicka and Jancsika Dolly
    Karl Dane
    Jeanne Eagels
    Louise Brooks (Lulu)
    Charlie Chaplin
    Lottie Pickford
    Jack Pickford
    Alma Rubens
    Bela Lugosi
    Thelma Todd
    Ramon Novarro
    Mayo Methot
    Tom Mix
    Rudolph Valentino
    Natacha Rambova
    Juanita Hansen
    Myrtle Gonzales
    Russ Columbo
    Clara Bow




It is pretty cool looking. For more illustrations and more, check out the Kickstarter campaign page at  https://www.kickstarter.com/projects/947849256/illuminating-the-stars-coloring-book-volume-1

Sunday, January 19, 2014

All Movies Love the Moon Trailer

Louise Brooks is pictured in this trailer for a forthcoming book, Gregory Robinson's All Movies Love the Moon: Prose Poems on Silent Film, to be published by Rose Metal Press in March 2014. The book will be for sale at www.rosemetalpress.com, www.spdbooks.org, and Amazon.com. Thanx to writer Lisa K. Buchanan for pointing me to this video.


About the book from the publisher: Anyone who watches silent movies will notice how often crashes occur—trains, cars, and people constantly collide and drama or comedy ensues. Gregory Robinson's All Movies Love the Moon is also a collision, a theater where prose, poetry, images, and history meet in an orchestrated accident. The result is a film textbook gone awry, a collection of linked prose poems and images tracing silent cinema's relationship with words—the bygone age of title cards. The reel begins with early experiments in storytelling, such as Méliès' A Trip to the Moon and Edison's The European Rest Cure, and ends with the full-length features that contested the transition to talkies. Of course, anyone seeking an accurate account of silent movies will not find it here. Through Robinson's captivating anecdotes, imaginings, and original artwork, the beauty of silent movies persists and expands. Like the lovely grainy films of the 1910s and 20s, All Movies Love the Moon uses forgotten stills, projected text, and hazy frames to bring an old era into new focus. Here, movies that are lost or fading serve as points of origin, places to begin.

Sunday, March 16
Gregory Robinson reading from All Movies Love the Moon at the Marble Room Reading Series at 4:00 pm. Free and open to the public

The Marble Room Reading Series
The Parlor
1434 N. Western Ave., Chicago, Illinois


Friday, April 11
Gregory Robinson reading from All Movies Love the Moon at the Caffeine Corridor Poetry Series at 7:00 pm. Free and open to the public.


The Caffiene Corridor Series
9 The Gallery
1229 Grand Ave., Phoenix, Arizona

Wednesday, January 27, 2010

Louise Brooks on the cover of new book

Because she passed away 25 years ago, and hadn't appeared in a film in more than 70 years, its a bit curious that Louise Brooks continues to fascinate. And, she continues to adorn the covers of new books.


Just out from Berghahn Books is The Concise Cinegraph, edited by Hans-Michael Bock & Tim Bergfelder. Its an expensive, information packed, dense, 575 page, nearly 3 pound  encyclopedia of German cinema now in English translation. It's also an outstanding resource. In his forward, film historian Kevin Brownlow laments the fact that this book hadn't been translated and published earlier at the time he was working on his outstanding documentary, Cinema Europe.

The American-born Louise Brooks is depicted on the cover, as is the Austrian-born director G.W. Pabst. One might ask, "what are they doing on the cover of a German film encyclopedia?" The short answer, of course, is that Brooks and Pabst made two films together in Germany, Pandora's Box and The Diary of a Lost Girl. Both were released in 1929. Each also receives an entry in the book, with Pabst's being more substantial. Pabst is a far more significant figure, and is widely considered one of the great directors (along with Murnau and Lang) working in Germany during the interwar period.

The long answer lies in the scope of the series to which this book belongs. The Concise Cinegraph is volume 1 in Film Europa: German Cinema in an International Context. It's description reads, "German cinema is normally seen as a distinct form, but this new series emphasizes connections, influences, and exchanges of German cinema across national borders, as well as its links with other media and art forms. Individual titles present traditional historical research (archival work, industry studies) as well as new critical approaches in film and media studies (theories of the transnational), with a special emphasis on the continuities associated with popular traditions and local perspectives."

Together, the work of Brooks and Pabst certainly does represent "connections, influences, and exchanges of German cinema across national borders." And is thus a fitting cover.

In her entry, the Kansas-born Brooks is described as"one of Weimar cinema's most recognisable icons." I agree. However, I have a tiny quibble with a few details in the entry.

The entry states, "First performing in public alongside her mother at fairgrounds in Kansas, Brooks was by 1922 a member of the Denishawn Dancers, supporting Ruth St. Denis and Ted Shawn throughout their East Coast appearances."

If by "alongside her mother" the editors mean to imply that they danced together, that's not true. According to the biography by Barry Paris, Brooks' mother only accompanied her child on piano at dance recitals and performances around the state. As well, Brooks later tour with the Denishawn Dance Company rambled not only up and down the East Coast (as the entry states), but the American South, Midwest, and Far West. Their tours went as far west as Texas and Colorado, and even ventured into Canada. Otherwise, the entry is right on and a worthwhile summation of Brooks life and career.

The Concise Cinegraph is an exceptional resource which covers German cinema from its beginnings through today. It's also a work anyone serious interested in the subject will want to own. The Concise Cinegraph is available on amazon.com.

Monday, January 25, 2010

Denis Marion and Louise Brooks

Just yesterday, I received an email from Gianluca Chiovelli, the leading Louise Brooks scholar in Italy. Gianluca maintains an outstanding website at http://xoomer.virgilio.it/louisebrooks/ which is well worth checking out. Gianluca, who is multi-lingual, is always finding new things about about the actress in Europe.

Gianluca wrote to tell me about a somewhat recently published book, Denis Marion: Pleins feux sur un homme de l'ombre (Bruxelles, Le Cri, collection "CIEL", 2008). The book, which is a collection of essays, contains a chapter (pages 113-130) which explores the relationship & exchange of letters between Louise Brooks and Denis Marion.

From what I have been able to find out (via the French-language version of Wikipedia), Denis Marion was a Belgian-born intellectual and a Belgian Francophone writer who worked as a scholar, journalist, film critic and University professor. He started publishing works of literary criticism in the early 1940's, and at one point authored an undated book, Filmographie et bibliographie de Erich von Stroheim, which is listed in the collection of the National Library of Australia.

I hadn't known Brooks had corresponded with Marion. Thus, I intend to try and track down this book, and find out more about the epistolary relationship between the actress and the intellectual.

In early 2009, Denis Marion: Pleins feux sur un homme de l'ombre was reviewed in Le Soir, a Belgian publication.The author of the review, Jacques De Decker, mentioned Brooks in writing about the book. That review can be found on the Le Soir website, or here as a PDF document.

If any Belgian fans of Louise Brooks have access to this book and could send me a pdf or scan of the chapter noted above I would be most grateful.

Saturday, December 22, 2007

More on the new book

Here is a French review of the new Louise Brooks book. It was originally published on Bibliobs (http://bibliobs.nouvelobs.com). Click on the image below for a six minute video clip - apparently a television review of the book.

Chère Louise Brooks
By Jérôme Garcin
Créé 19/12/2007 - 18:45


Portrait sensible de l’actrice éphémère et de la garçonne éternelle par le prince des cyniques. Il aime les bachelières à frange, le ping-pong, les fantômes de la Vienne impériale, «la teenager danoise» de Kierkegaard (Regine Olsen), les aphorismes désabusés de Cioran, les chansons bleues de Christophe, la psychanalyste Melanie Klein, «le flûtiste pessimiste de Francfort» (Schopenhauer), le Japon, les films du Coréen Kim Ki-duk, les poèmes de Yi Sang, la paresse, les suicidaires, et faire «yum-yum» dans les chambres des palaces lémaniques.

Né à Lausanne, pendant la guerre, d’un diplomate qui ressemblait à Erich von Stroheim et d’une Viennoise qui nourrissait une passion pour Alma Mahler, Roland Jaccard pratique, en expert, l’art de la désillusion, du cynisme, de l’autodénigrement et de l’oisiveté. Avec légèreté, il plaide pour la tentation nihiliste et le refuge de la solitude. Avec Clément Rosset, il tient qu’on doit éprouver la beauté du monde en ayant conscience de sa cruauté. A ce bon vivant, on doit notamment un «Manifeste pour une mort douce» et une «Topologie du pessimisme». A 65 ans, il est resté un jeune homme triste dont les livres, aussi brefs que mélancoliques, ont un charme fou.

Celui qu’il consacre à Louise Brooks, trente ans après sa biographie de

[1] l’«anti-star», tient de l’autoportrait fragmenté. Car l’héroïne de «Loulou» et du «Journal d’une fille perdue», dont la photo trône au milieu de sa bibliothèque, incarne son idéal amoureux, l’idée qu’il se fait des beautés ravageuses. Jaccard en a toujours piqué pour les garçonnes, les adolescentes minces et arrogantes, les «flappers», comme les appelait Scott Fitzgerald, «jolies, effrontées, dotées d’une superbe assurance, court vêtues et dures à cuire», frappant le trottoir de leurs talons, flap, flap, avec une détermination qui n’a d’égale que leur vocation à l’autodestruction.


Louise Brooks, alias «Brooksie», était douée pour réussir, mais sa carrière, interrompue en 1938, fut un immense gâchis. Après avoir aimé les hommes à la gueule d’escroc, abusé de son image de «petite garce odieuse qui ne pensait qu’au sexe», et enfin été boudée par Hollywood, elle est morte en 1985. Jaccard était allé la voir à Rochester, elle l’avait supplié de lui apporter une arme, elle voulait en finir. Allongée sur son lit dans une robe de chambre, elle lui avait raconté son aventure avec Charlie Chaplin, autre amateur de lolitas, lequel l’avait initié à Schopenhauer, ainsi que ses rencontres avec le couple Fitzgerald. Elle prétendait relire, une fois l’an, «A la recherche du temps perdu». Le dernier film qu’elle avait vu était «Fedora», de Billy Wilder, «sur le vieillissement à Hollywood, où il est interdit de vieillir sous peine de mort».

Cette ode désirante à Louise Brooks, à toutes les Louise Brooks, écrite au fusain par Roland Jaccard après qu’un institut lausannois pour jeunes filles lui eut demandé de donner une conférence sur l’ombrageuse «flapper», est une merveille de tendresse, de provocation et d’insolent chagrin.
J. G.

«Portrait d’une flapper», par Roland Jaccard, PUF, 96 p., 15 euros.
A lire aussi, illustré par Romain Slocombe, «Retour à Vienne» (Melville-Léo Scheer, 15 euros), où Roland Jaccard se souvient de ses parents.

Source: «Le Nouvel Observateur» du 20 décembre 2007.

Friday, December 21, 2007

A new book

Word comes from France of a new book by Rolland Jaccard, the long-time Louise Brooks devotee, author, and editor ofLouise Brooks: Portrait of an Anti-Star. Jaccard's new 86-page book is called Portrait d'une flapper, and it features Louise Brooks on the cover. I don't know much else about it besides what can be found on this amazon.fr page. I have just ordered a copy for myself!

Monday, December 19, 2005

The red glove and other poems

I have just received word that a recent edition of a book of poems by Tadeusz Rozewicz entitled Il guanto rosso e altre poesie (1948)  features an image of Louise Brooks on the cover. And, apparently, the credit for the cover image reads "Cover, Louise Brooks. The Thirties, from the Louise Brooks Society Archive San Francisco." Rozewicz (born 1921) is a world famous writer, and is the author of many poems, plays and novels. He is Polish by birth. A bit more on this Italian language edition can be found on this web page.
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