Louise Brooks and Pandorina skrinjica (Pandora's Box) in Slovenia

Longtime Louise Brooks Society supporter Camille Scaysbrook alerted me to this November 9th screening of Pandorina skrinjica (Pandora's Box) at the Slovenska Kinoteca in Delavska Zbornica, Slovenia. Thank you Camille!

Scaysbrook, a member of the LBS since before 2000, posted on Bluesky that her parents were recently in Slovenia and came across a program for the Slovenska Kinoteka which featured Louise Brooks on the cover!

The film institute screened Pandora's Box as part of a series devoted to "Scandalous Classics of German Silent Film." Camille also sent snapshots of two of the interior pages highlighting the event. I will soon add the cover shot to the Louise Brooks Society archive age which features a bunch of contemporary film program covers (dating back to 1961). That page can be found HERE.

More about the Slovenska Kinoteka screening can be found HERE. And more about the film can be found HERE. IF THERE ARE ANY SLOVENIA FANS WHO ATTENDED THIS SCREENING, I WOULD LOVE TO HEAR FROM YOU. These first of these non-English / Slovenian pages state: 

Lepa in muhasta Lulu (Louise Brooks), brezskrbna in nedolžno perverzna, je bitje, ki živi le za ljubezen. Nastopa v revijalni predstavi, ki jo sponzorira njen ljubimec Ludwig Schön (Fritz Kortner), mogočen časopisni in varietejski magnat, ki je zaročen s hčerjo ministra za notranje zadeve. Na večer premiere Lulu prisili Schöna, da zaroko razdre in se poroči z njo.

Pandorina skrinjica je osnovana na dveh dramah nemškega dramatika Franka Wedekinda: Duh zemlje (1895) in Pandorina skrinjica (1902), ki so ju imeli v takratnem času za nemoralni in sta povzročili škandal. Tako je komajda presenetljivo, da so Pabstov film, ko je prišel v kinematografe, prepovedali skoraj v vseh evropskih državah, razen v Franciji, kjer pa so cenzorji zapovedali precejšnje reze, ki so privedli do omiljene različice filma.

In English translation via Google translate, it reads:

Beautiful and whimsical, Lulu (Louise Brooks), carefree and innocently perverse, is a creature who lives only for love. She appears in a revue sponsored by her lover Ludwig Schön (Fritz Kortner), a powerful newspaper and variety magnate who is engaged to the daughter of the Minister of the Interior. On the night of the premiere, Lulu forces Schön to break off the engagement and marry her. 

Pandora's Box is based on two plays by German playwright Frank Wedekind: The Spirit of the Earth (1895) and Pandora's Box (1902), which were considered immoral at the time and caused a scandal. It is therefore hardly surprising that when Pabst's film was released in cinemas, it was banned in almost all European countries, except in France, where censors ordered significant cuts, resulting in a watered-down version of the film.

The second of these non-English pages state:

Film Pandorina skrinjica (Die Büchse der Pandora), ki ga je leta 1929 režiral avstrijski filmski ustvarjalec Georg Wilhelm Pabst, velja za enega od vrhuncev nemškega nemega ekspresionizma in za enega najbolj kontroverznih ter odmevnih filmov svojega časa. Osnovan je na dveh dramah Franka Wedekinda, Duhu zemlje (1895) in Pandorini skrinjici (1902), ki sta bili v času nastanka označeni za nemoralni in škandalozni, in prinaša kompleksno zgodbo o vzponu in padcu usodne ženske, katere fatalna privlačnost prinese propad tako njej kot ljudem v njeni bližini.

Glavno junakinjo Lulu upodablja karizmatična Louise Brooks, z nenavadno kombinacijo otroške nedolžnosti in seksapila obdarjena igralka, ki je revolucionirala filmsko igro s svojo naravno prezenco in izraznim minimalizmom, tako drugačnim od teatralne igre, značilne za takratne neme filme. Zgodba sledi Lulujinemu vplivu na moške in ženske okoli sebe ter prikazuje, kako jo njena frivolnost in spolna neinhibiranost zlagoma vlečeta v tragedijo. Lulu je svobodomiselna, neukrotljiva in izzivalna, to pa so lastnosti, ki jih družba tistega časa ni bila pripravljena sprejeti. Pabst skozi njeno zgodbo raziskuje teme spolne osvoboditve, moči ženske seksualnosti in destruktivne sile, ki jo ta lahko povzroči, ko se sreča z represivnimi družbenimi normami. Pripoved se začne z Lulujinimi ljubezenskimi zapleti in se postopoma poglablja v vse bolj temačne in uničujoče situacije, vse do tragičnega konca, ko postane žrtev Jacka Razparača.

Pabst je v sodelovanju s snemalcem Fritzom Arnom Wagnerjem ustvaril osupljivo vizualno podobo, polno bogatih kontrastov, temačnih senc in prefinjenih podrobnosti, ki poudarjajo psihološko globino likov in ustvarjajo mračno, skoraj nihilistično atmosfero. Poleg ekspresionističnih prijemov pa je film znan tudi po naturalističnih elementih, ki poskrbijo za realistično upodobitev človekovih strasti in propada.

Ob izidu je bil film zaradi svoje seksualne eksplicitnosti in moralne oporečnosti deležen večinoma negativnih kritik. Kjer so ga predvajali, je bil močno cenzuriran, marsikje pa je bil v celoti prepovedan. A sčasoma je postal predmet številnih filmskih analiz in navdih za prihodnje filmske ustvarjalce. Njegov vpliv lahko zaznamo v kasnejših filmskih delih, ki raziskujejo teme usodnih žensk, seksualne politike in temnih plati človeške narave.

I am not sure about the reference to cinematographer Fritz Arn Wagner. The creditted cameraman is usually given as Gunther Krampf. In English translation the above text reads:

Pandora's Box (Die Büchse der Pandora), directed by Austrian filmmaker Georg Wilhelm Pabst in 1929, is considered one of the pinnacles of German silent expressionism and one of the most controversial and high-profile films of its time. Based on two plays by Frank Wedekind, The Spirit of the Earth (1895) and Pandora's Box (1902), which were considered immoral and scandalous at the time of their creation, it tells the complex story of the rise and fall of a femme fatale whose fatal attraction brings ruin to both her and those around her. 

 

The main character, Lulu, is portrayed by the charismatic Louise Brooks, an actress gifted with an unusual combination of childlike innocence and sex appeal, who revolutionized film acting with her natural presence and expressive minimalism, so different from the theatrical acting typical of silent films of the time. The story follows Lulu's influence on the men and women around her, and shows how her frivolity and sexual uninhibition gradually lead her into tragedy. Lulu is free-spirited, untamed, and provocative, traits that society at the time was unwilling to accept. Through her story, Pabst explores themes of sexual liberation, the power of female sexuality, and the destructive force it can create when it encounters repressive social norms. The story begins with Lulu's love affairs and gradually delves into increasingly dark and destructive situations, until the tragic end when she falls victim to Jack the Ripper. 

 

Pabst, in collaboration with cinematographer Fritz Arn Wagner, created a stunning visual image, full of rich contrasts, dark shadows, and sophisticated details that emphasize the psychological depth of the characters and create a gloomy, almost nihilistic atmosphere. In addition to its expressionistic approaches, the film is also known for its naturalistic elements, which provide a realistic depiction of human passions and downfall. 

 

Upon its release, the film received mostly negative reviews due to its sexual explicitness and moral objections. Where it was shown, it was heavily censored, and in many places it was banned altogether. However, it has become the subject of numerous film analyses and an inspiration for future filmmakers. Its influence can be seen in later films that explore themes of femme fatale, sexual politics, and the dark side of human nature.

More about Louise Brooks can be found on the newly revamped Louise Brooks Society website at www.pandorasbox.com

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

Happy birthday Louise Brooks (1906 - 1985)

Happy birthday to Louise Brooks, who was born on this day, November 14, in Cherryvale, Kansas in 1906.

Though I am not sure when, Louise was seemingly born in the very early hours of  November 14th -- which was a Wednesday. I say that because her birth made news on the very day she was born. Small articles about the birth appeared in both of her hometown newspapers on November 14. The first image shown below comes from the Cherryvale Daily Republican. It is followed by another clipping, from the Cherryvale Daily News, which appeared that same day on the newspaper's front page. As most Brooks' fans likely know, Brooks' father was a lawyer.

And just a few years later, the young little Mary Louise was photographed celebrating her birthday....

Louise Brooks grew-up and became a dancer, silent film star and eventually a writer. And the world, as is said, has never been the same. Here is a very early newspaper clipping celebrating her achievement. If you haven't watched a Louise Brooks film in a while, go ahead and watch one today...

More about Louise Brooks can be found on the newly revamped Louise Brooks Society website at www.pandorasbox.com

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

The City Gone Wild, featuring Louise Brooks, was released on this day in 1927

The City Gone Wild, featuring Louise Brooks, was released on this day in 1927. The film is a terse crime drama -- with gangsters, gangs, and gunfights, in which a criminal lawyer turns prosecutor to avenge the death of a friend. As she did in The Street of Forgotten Men, Louise Brooks plays a moll, this time the deliciously named Snuggles Joy, the “gunman’s honey.”

More about the film can be found on the Louise Brooks Society website filmography page.

The “gangster film” (as we know it today) more-or-less began with Paramount’s Underworld (1927). Though there were earlier crime films, the Joseph von Sternberg directed Underworld set the tone for many of the genre films which followed, namely Little Caesar (1931), The Public Enemy (1931), and Scarface (1932).

With the surprising success of Underworld, Paramount quickly put another gangster film into production, namely The City Gone Wild. The film was a vehicle for leading man Thomas Meighan, who in 1927 saw his star begining to fade. To boost his career, Paramount paired Meighan with a topical story “ripped from the headlines,” a first rate director, and popular supporting actors. Also assigned to The City Gone Wild were individuals who worked on Underworld, namely writer Charles Furthman, cinematographer Bert Glennon, and tough-guy actor Fred Kohler.

The two films, not surprisingly, were sometimes compared. Intoning the slang of the time, Variety wrote, “The gang stuff is a la Underworld — machine guns and plenty tough. The two main yeggs each have a moll carrying their gat in the pocketbook. Very authentic in these little details ….”

Many critics focused on the acting and actors. The noted critic Ward M. Marsh of the Cleveland Plain Dealer stated, ” . . . pitting her against crookdom’s love of Louise Brooks brings out the worst in all of us. On the credit side is Miss Brooks and also Fred Kohler in a role paralleling his Mulligan in Underworld. They do excellent work.” The San Antonio Express echoed Marsh, “Although Meighan is featured in the cast, he has his co-stars, Louise Brooks, one of Paramount’s niftiest, and Fred Kohler, remembered for his great crook work in Rough Riders and Underworld.”

Critics noticed Brooks’ hard-boiled character, and the edge she brought to the role. Radie Harris of the New York Morning Telegraph wrote, “Louise Brooks is in the cast and that is something to grow ecstatic about. Christened with the preposterous name of Snuggles Joy, she is the most entrancing crook that ever pulled a Holt. No wonder the city went wild.”

“Another distinct ornament of the cast is Louise Brooks, who lends considerable vividness to her portrait of a lady of the underworld. In fact, she gives so good an interpretation of the part that Marietta Millner, supposedly the feminine lead, actually relapses into only secondary importance,” wrote Gordon Hillman of the Boston Daily Advertiser.

Brooks was so good that she out shown Millner, who had appeared earlier in the year with Meighan in the Cruze directed film We’re All Gamblers. “Louise Brooks, who plays the crook’s girl, is better looking, more attractive and a better actress than Marietta Millner, the district attorney’s jeune fille, and in real life Tommy probably would have preferred her to Marietta,” wrote Stanley Orne in the Portland Oregonian. “Louise Brooks, the pert flapper, completely shadows the more important role allotted to Marietta Millner, and the ‘girl of Gunner Gallagher’ brief as her part is, is a far more intriguing character than the society girl of Miss Millner,” added Leona Pollack of the Omaha World Herald.

Under its American title, documented screenings of the film took place in Australia (including Tasmania), Bermuda, Canada,* China, Dutch Guiana (Suriname), Hong Kong, Indonesia, Ireland, Jamaica, Japan, New Zealand, South Africa, Sweden, and the United Kingdom** (England, Isle of Man, Northern Ireland, Scotland, and Wales). The film was occasionally shown in the United States as City Gone Wild  (and at least once in Scotland under the title A City Gone Wild). In the United States, the film was also presented under the title A Cidade que Enlouqueceu (Portuguese-language press).

Elsewhere, The City Gone Wild was shown under the title The City Gone Mad and La ciudad del mal (Argentina); Der Verbrecherkönig von Chicago (Austria); La cité maudite (Belgium, in French) and De Vervloekte Stad (Belgium, in Dutch); A cidade buliçosa (Brazil); La ciudad del mal (Chile); La ciudad del mal (Costa Rica); Mesto uplynulý divoký (Czechoslovakia); Storhyens Svøbe and Storstadens Svøbe! (Denmark); Het Kwaad eener Wereldstad (Dutch East Indies – Indonesia); La Ville Maudite (Egypt); La Ville Maudite (France); Gonosztevők királya (Hungary);  狂乱街 or Kyōran-gai (Japan); Die Gottin der Sunde (Latvia); La onda del crimen (Mexico); Boeven en Burgers and Het Zondagskindand Het Kwaad Eener Wereldstad (The Netherlands***); Piraci Wielkiego Miasta (Poland); A Cidade Ruidosa (Portugal); Gonosztevok kiralya (Romania); La ciudad del mal (Spain); and La Cité Maudite (Switzerland).

* Except in Quebec, where the film was banned due to “too much shooting.”
** When the film was shown in The United Kingdom, it was restricted to adults only.
*** When the film was shown in The Netherlands in 1929-1930 and again in 1934, audiences were limited to those 18 years and older.

SOME THINGS ABOUT THE FILM YOU MAY NOT KNOW:

— Thomas Meighan, the star of the film, was Louise Brooks’ “uncle-in-law.” (Meighan was married to Frances Ring, a Broadway stage actress and the sister of the popular entertainer Blanche Ring. Director Eddie Sutherland — Brooks’ husband at the time, was the nephew of both Meighan, as Sutherland’s mother, Julie, was a sister of Blanche and Frances Ring.)

— Meighan was involved in two of the more sensational happenings of the silent era. In 1916, he was the sole witness to Jack Pickford and Olive Thomas’ secretive wedding. And in 1923, Meighan put up a large chunk of the bail money, and with the help of June Mathis and George Melford, got Rudolph Valentino out of jail after he was charged with bigamy.

— In the mid-1920s, Meighan became interested in Florida real estate after talking with his brother, who was a realtor. In 1925, Meighan bought property in Ocala, Florida (where scenes for the Eddie Sutherland-directed It’s the Old Army Game were shot). In 1927, he built a home in New Port Richey, Florida. It was there that he spent his winters and helped support a local movie theater, the Meighan Theatre, which was named in his honor. The Meighan Theatre opened July 1, 1926, with a showing of the Meighan movie The New Klondike, a film set against the backdrop of the Florida land boom of the 1920s. Today, the renamed Richey Suncoast Theater is home to the annual Thomas Meighan film festival.

— Brooks never learned to drive an automobile. According to the actress, a double was employed when her character was needed to speed away in a car.

More about The City Gone Wild can be found on the newly revamped Louise Brooks Society website on its The City Gone Wild (filmography page).

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

The many visitors to the Louise Brooks Society website

Wow, how interesting it is to view my visitor log and stats -  the country of origin, the DNS record, the made-up usernames.... One never knew Louise Brooks had so many anonymous fans in Ireland, and Singapore, too, for that matter. Where do they all come from -- such a crowd! I am pleased that my site software and my premium security software is keeping track. One never knows when I might want to review these stats.

Well, anyways, the Louise Brooks Society continues to grow, and thrive. As of today, the LBS website has more than 250 pages of content -- and that's not counting the near 3,700 blog posts here on blogger. Here are some new and recent pages worth checking out:

Louise Brooks at the Cafe de Paris in London

Caricatures and Illustrations

"Quotable" Louise Brooks

Coming Attraction Slides

Brooks and Company

Stagnant websites are a bore. That's why I am always adding new pages, or tweaking, editing and refining old ones. YOU are invited to check out the newly improved Louise Brooks Society website at www.pandorasbox.com

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

Notes on the new Criterion release of Pandora's Box, starring Louise Brooks

As most Louise Brooks and silent film fans likely know, Criterion has recently released Pandora's Box on DVD and Blu-ray. That's great news. This new release is a slightly repackaged version of their 2006 release of the film, which has been out-of-print for more than a few years and today is much sought after. There are, however, a few key differences.

More information about this new release can be found on the Criterion website HERE. And for those interested, the DVD and the Blu-ray releases are also available on Amazon. BOTH ARE ON SALE NOW!

So, what's the difference? And if you have the earlier release, should you buy this new version? That all depends....

First, the differences between the 2006 and the 2024 releases in regards to the film itself:

The 2006 Criterion release features a then "New, restored high-definition digital transfer of the definitive Munich Film Museum restoration." It runs 133 minutes.

The 2024 Criterion release features a "new 2k digital restoration." It runs 141 minutes. This 2k restoration was created from three duplicate elements from the collections of the Cinematheque francaise, Gosfilmofond and Narodni filmovy archiv. Funded by Hugh Hefner, this restoration was a collaboration between the George Eastman Museum, Cinematheque francaise, Cineteca di Bologna, Narodni filmovy archiv, and the Deutsche Kinemathek - Museumfur Film und Fernsehen. The restoration supervisor was Martin Koerber. (Unless I am mistaken, this restoration is the same as appeared on the recent Eureka release of the film from the U.K. However, I am uncertain as to why that version is said to run 133 minutes while this release runs 141 minutes. Perhaps someone from Criterion could explain.)

Second, differences between the bonus material included on each release:

The 2006 Criterion release features a number of excellent bonus materials or "supplements", including 

-- Four musical scores, by Gillian Anderson, Dimitar Pentchev, Peer Raben, and Stéphan Oliva

-- "New and improved English subtitle translation"

-- Audio commentary by film scholars Thomas Elsaesser and Mary Ann Doane 

-- Louise Brooks: Looking for Lulu (1998), a documentary by Hugh Munro Neely

-- Lulu in Berlin (1971), a rare interview with actor Louise Brooks, by Richard Leacock and Susan Steinberg Woll

-- Video interviews with Leacock and Michael Pabst, director G. W. Pabst’s son

-- A thick booklet which contains an essay by critic J. Hoberman, notes on the scores, Kenneth Tynan’s 1979 “The Girl in the Black Helmet,” and an article by Louise Brooks ("Pabst and Lulu") on her relationship with the Director

-- Stills Gallery

The 2024 Criterion release features each of the above mention bonus materials EXCEPT:

-- The stills gallery is lacking from both versions (DVD and Blu-ray) of the new release

-- Also of note, the booklet accompanying the Blu-ray contains the introductory essay by Hoberman, notes on the scores, Tynan’s 1979 “The Girl in the Black Helmet,” and an article by Brooks ("Pabst and Lulu"), while the slim insert accompanying the DVD contains only Hoberman's introductory essay and the notes on the scores while dropping the Tynan and Brooks essays. I wonder why?

-- Notably, the 2024 Blu-ray release is one disc, while the DVD is a two-disc set

-- The 2024 release has a new cover by Eric Skillman, as well as an official trailer announcing this 2024 release (which, now that it has been released, is dated; see below)

-- The interior illustrations are seemingly the same, though there are fewer of them on the DVD version

-- And though it is not explicitly stated, I assume the "New and improved English subtitle translation" has been carried over from the 2006 release.

There haven't been many reviews of this new release, that I have noticed. One of them, on the Slant magazine website, is cursory. Here is another, on the YouTube channel, Let's Talk Criterion. 

With all that said, I am glad Criterion brought Pandora's Box back into print. Perhaps a few more fans will check it out. Also, as I mentioned in some of my earlier blogs on the Criterion and Eureka releases, including my Pop Matters review from earlier this year, the Hugh Hefner funded restoration (supervised by Martin Koerber) is likely the best version of Pandora's Box that we will see in our lifetime.

For more about Pandora's Box, see the newly revamped Pandora's Box filmography page on the new revamped Louise Brooks Society website.

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

Happy Halloween from the Louise Brooks Society! 

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

Diary of a Lost Girl, starring Louise Brooks, to screen in Italy

Diary of a Lost Girl, starring Louise Brooks, will be shown at the Teatro di Fiesole in Fiesole, Italy (outside of Florence) on Saturday November 9, 2024. This screening is part of the Autunno Fiesolano 2024. Additionally, the film will be shown with live musical accompaniment by Remo Anzovino. More information and ticket availability can be found HERE.

According to a translation of the Teatro di Fiesole page, "A masterpiece of silent cinema, presented in a restored version, with a soundtrack composed and performed live by one of the most creative pianists on the contemporary scene. Diary of a Lost Woman comes back to life with the music of Remo Anzovino.

Directed by Georg Wilhelm Pabst in 1929, Diary of a Lost Woman stars Louise Brooks, the first real movie star and a style icon, thanks to her legendary bob cut.

Remo Anzovino composed the film's soundtrack on commission from the Cineteca di Bologna, a very fortunate partnership – to which a degree thesis was also dedicated, at the Dams of Bologna – for a musician that critics have defined as the 'new true heir of the Italian tradition in film music'."

The film is being promoted under the Italian title of Diario di una donna perduta. Notably, it has also screened in Italy under the titles Diario di una perduta and Diario di una prostituta.

The accompanist, Remo Anzovino, is a prominent Italian composer, musician and criminal lawyer. He has accompanied many classic silent films, including Pandora's Box and Beggars of Life. His official website can be found HERE.

In 2010,  the Louise Brooks Society published a corrected and annotated edition of the original 1907 English language translation -- notably, this edition, the first in English in 100 years -- brought this important work of feminist literature back into print in English. It includes an introduction by Thomas Gladysz, Director of the Louise Brooks Society, detailing the book's remarkable history and relationship to the 1929 silent film. This special "Louise Brooks Edition" also includes more than three dozen vintage illustrations.  (Purchase on amazon.)

 

More about Diary of a Lost Girl can be found on the newly revamped Louise Brooks Society website on its Diary of a Lost Girl (filmography page).

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

Beggars of Life to be screened in Jim Tully's hometown

Beggars of Life, the sensational William Wellman-directed silent film starring Louise Brooks, Wallace Berry and Richard Arlen, will be screened on November 16th at the St. Marys Theater and Grand Opera House in St. Marys, Ohio. And what's more, this special screening will feature a live musical accompaniment by silent movie organist Dennis James. A link to the venue can be found HERE.

 Jim Tully was a well known "hobo writer" in the early decades of the 20th century The 1928 film, Beggars of Life, was based on Tully's 1925 book of the same name. Also on hand for this event will be Tully biographers Paul Bauer and Mark Dawidziak, who will introduce the film. 

For anyone in the area, this Tully celebration not to be missed. A special 10 minute slide show prepared by Thomas Gladysz will also be shown at the event. It features rare images and audio drawn from the collection of the Louise Brooks Society.

The first ever book on the film, Beggars of Life: A Companion to the 1928 Film, was published by the Louise Brooks Society in 2017. The book is authored by LBS Director Thomas Gladysz, and features a foreword by author and actor William Wellman Jr. -- the son of the film's Academy Award winning Director.  (Purchase on amazon.)

More about Jim Tully and Beggars of Life can be found on the newly revamped Louise Brooks Society website on its Beggars of Life (filmography page). 

And, be sure and check out one or both of these book, a recent reprint of Tully classic work, Beggars of Life (purchase on amazon), or the highly recommnded biography of the writer, Jim Tully: American Writer, Irish Rover, Hollywood Brawler. (purchase on amazon)

 

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.