Windy Riley Goes Hollywood, starring Louise Brooks, was released on this day in 1931

Windy Riley Goes Hollywood, starring Louise Brooks, was released on this day in 1931. The film is a short comedy which centers on Windy Riley, a cocky blow-hard who attempts to revamp the publicity department of a Hollywood studio. The film was Louise Brooks’ first after returning from Europe, the first to feature her actual voice (Brooks’ earlier sound films, The Canary Murder Case and Prix de Beauté, had been dubbed), and her first and only short. More about the film can be found on the Louise Brooks Society website filmography page.

The film was directed by Roscoe "Fatty" Arbuckle, who was working under the name William B. Goodrich; a blacklist on the comedian's employment in Hollywood was still in effect. Windy Riley Goes Hollywood was promoted as a behind the scenes look at the movie capital. The film’s press sheet overstated its case when it proclaimed “One of the first pictures ever showing the interior of a sound stage and the actual operation of talking pictures. . . . The actual cameras, microphones, etc., used in picture production will be shown in some of the big scenes.”

At times, story details surrounding character Betty Grey (played by Brooks) curiously parallel Brooks’ own career. Near the beginning of the film, Grey is set to star in The Box Car Mystery, a title of which calls to mind Brooks’ role in Beggars of Life. Later, while at lunch at the Montmarte (a famous Los Angles café once frequented by Brooks and others in Hollywood), Riley boasts he was responsible for the successful advertising campaign mounted by Klux Soap. In real life, Brooks was among a handful of actress who regularly appeared in print ads for Lux Soap. And, at the end of the film, it is announced that Grey will wed the director The Box Car Mystery. A few years earlier, Brooks married Eddie Sutherland, who directed her in It’s the Old Army Game.

The film's few reviews were largely negative, and the film suffered from a lack of exhibitor interest. Consequently, few likely saw Windy Riley Goes Hollywood at the time of its release. Except for a three-month period in mid-1931 when it played in Toronto, there are few records of this short film having been shown in any large cities. What exhibition records have been found suggest the film was shown as program filler in mostly smaller markets.

 In the United States and Canada, the film was on a few occasions promoted under the title Windy Riley Goes to Hollywood, and once reviewed as Windy Riley Goes into Hollywood. Under its American title, documented screenings of the film took place in Canada, The Philippines, Sweden, and the United Kingdom (England and Scotland).

Elsewhere, Windy Riley Goes Hollywood was shown under the title The Gas Bag (United Kingdom, including England, Northern Ireland, and Scotland) and as Windy Rileyová jde Hollywood (Czechoslovakia).

 SOME THINGS ABOUT THE FILM YOU MAY NOT KNOW:

-- Windy Riley Goes Hollywood, based on an original story by Ken Kling, was adapted from Kling’s comic strip Windy Riley. The New York cartoonist started the strip about a wisecracking braggart in 1928. At the time of the film's release, the strip ran in some 170 newspapers across the country.

-- Roscoe "Fatty" Arbuckle, depressed and still working under a pseudonym because he was under an industry blacklist, directed the film. Years later, Brooks told Kevin Brownlow, "He made no attempt to direct this picture. He sat in his chair like a man dead."

-- Dell Henderson started as an actor in 1908, and was a frequent associate of director D.W. Griffith, and less so, with producer Mack Sennett. Henderson also directed nearly 200 silent films between 1911 and 1928. In the late 1920s, he returned to acting and played important supporting roles in King Vidor's The Crowd (1928) and Show People (1928). The advent of sound stalled his career, and he was thereafter cast in small parts. In the 1930s, Henderson appeared as a comic foil for W. C. Fields, Laurel and Hardy, and The Three Stooges.

-- The group of dancers seen in Windy Riley Goes Hollywood were recruited from the chorus of George Olsen’s Culver City nightclub. Olsen was a popular bandleader and recording artist married to Ethel Shutta. Her brother Jack Shutta, a stage performer making his screen debut in the title role of Windy Riley, managed Olsen's nightclub. Along with Ethel Shutta and Louise Brooks, Olsen and his orchestra performed at the Ziegfeld Follies of 1925.

-- In 1935, the Bell and Howell Company of Chicago offered Windy Riley as a Filmosound rental subject.

-- Windy Riley Goes Hollywood was the first Louise Brooks film shown on television likely anywhere in the world. The film was shown under the title Windy Riley Goes to Hollywood on November 18, 1948 on WJZ (Channel 7) in Asbury Park, New Jersey. (LINK)

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original content copyright © 2026. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.   

Does the Louise Brooks Society have good site authority?

I asked Google's Gemini if the Louise Brooks Society has good "site authority." Here is what Gemini said.

"From an SEO and historical standpoint, the Louise Brooks Society (hosted at pandorasbox.com) possesses exceptionally high authority within its niche. While "Site Authority" is often measured by scores like Moz’s Domain Authority (DA) or Semrush’s Authority Score, its true strength lies in its reputational authority and backlink profile.

Here is a breakdown of why it is considered a high-authority site:

1. Longevity and "Lindy Effect"

• Established 1995: The site is a "pioneer" in the film history space, having been online for over 30 years. Search engines generally view long-standing domains with consistent content as more trustworthy than newer sites.

• Archive Depth: With approximately 300 pages of deep archival material—including the most comprehensive Louise Brooks filmography and chronology in existence—it functions as a primary source rather than a content aggregator.

2. High-Quality Backlinks (Digital Trust)

The site is cited as a definitive resource by some of the most authoritative entities in media and academia:

• Institutional Citations: It has been referenced by the Encyclopedia Britannica, Wikipedia, and the U.S. Patent and Trademark Office (USPTO).

• Major Media: High-authority news outlets like The New York Times, The Guardian, USA Today, and The Irish Times have linked to or praised the site.

• Film Industry: Recognition from the Criterion Collection, Leonard Maltin, and inclusion in the bibliographies of definitive biographies (like those by Barry Paris) cements its topical authority.

3. Niche Dominance (E-E-A-T)

Google’s ranking guidelines emphasize Experience, Expertise, Authoritativeness, and Trustworthiness. The Louise Brooks Society excels here because:

• Subject Matter Expertise: The site is curated by Thomas Gladysz, a published author and researcher whose work has directly contributed to film restorations and academic scholarship.

• Official Backing: The site operates with the written consent of the Estate of Louise Brooks, which provides a level of official "brand" authority that few fan-operated sites achieve.

4. Technical Authority

• Keyword Ownership: The site consistently ranks at the top for specific, high-intent keywords related to silent film history, "Lulu," and Pandora's Box.

• Non-Commercial Nature: Because it is largely an educational archive rather than a commercial or "clickbait" site, it avoids many of the spam signals that can degrade site authority.

---

Summary: While a massive site like IMDb might have a higher general domain score, for queries specifically regarding silent film history or Louise Brooks, the Louise Brooks Society is often treated by search algorithms as the "seed" authority—the gold standard for accuracy and depth."

 

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original content copyright © 2026. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.   

God's Gift to Women, with Louise Brooks, was released on this day in 1931

God's Gift to Women, with Louise Brooks, was released on this day in 1931. The film is a pre-code musical comedy whose musical numbers were cut and whose humor and suggestive scenes are largely tempered by the tepid presence of star Frank Fay. He plays the Parisian descendant of a Don Juan who vows to stop philandering in order to win the hand of a virtuous young lady with a disapproving father. Louise Brooks plays one of a handful of women irresistibly drawn to Fay's character. 

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

Film Daily described the film as a "Merry French farce with amusing plot and deft comedy work by Frank Fay, fine feminine support and good direction." Edward Churchill, writing in Motion Picture Herald, stated “Frank Fay is the whole show in this broadly sophisticated story of Parisian love and Parisian life. Fay has all the women in the world after him, so it seems, and they are all good-looking. In fact, some of them are very beautiful, and they seem to like Fay. . . . Jane Hinton hasn’t given the picture much of a story as far as the plot is concerned, but the situations are excellent. Jackson and [Raymond] Griffith have tossed in some rare gags and some excellent dialogue and the costume department at Warners has been busy. . . . Michael Curtiz has built a snappy, laughable and highly entertaining picture around Fay and the preview audience laughed plenty. Photography is good, settings are in perfect keeping with the vehicle and the sound is clear.”

The movie, indeed, belongs to Fay, who was a popular Broadway star of light comedies. Casting the not-quite leading man as a Casanova was a stretch, but his delivery is mildly amusing at times. The plot line is predictable, and there's a twist in the final scenes. The San Francisco Chronicle thought "The picture is a bit of fluff, but it is amusing and is well produced."

 

Harry Mines of the Los Angeles Daily Illustrated News thought "All the girls in the cast have the opportunity to wear beautiful clothes and look their vampiest. They are Laura LaPlante, Marguerite Livingston, Yola D'Avril, Louise Brooks, Joan Blondell, Ethelyn Claire and the Sisters 'G'." Not surprisingly, Jerry Hoffman of the Los Angeles Examiner considered the film little more than "album of Hollywood's beautiful women." Harry Evans of Life magazine quipped "These few amusing moments are the film's total assets -- unless you haven't seen Louise Brooks, Joan Blondell and Yola D'Avril in their underwear."

All were not so forgiving. Variety called God's Gift to Women "no gift to audiences." Richard Watts Jr. of the New York Herald Tribune called it a "thin farce."  Thonton Delehanty of the New York Post was less generous, "The humor is in the style of the hackneyed French farce, so hackneyed that it is paralyzingly awful."

Unfortunately, the film is nowhere near a star turn for Brooks. And her second consecutive supporting role left some critics surprised. As with her small part in It Pays to Advertise, some including W. Ward Marsh of the Cleveland Plain Dealer could only wish for more.... "Louise Brooks (returning to the screen in a comparatively minor role)...."

Next to Windy Riley Goes Hollywood, God's Gift to Women was one of the least shown films in which Brooks' appeared. Under its American title, documented screenings of the film took place in Canada, England, New Zealand, The Philippines, Sweden, and possibly Brazil and France. In the United States, the film was also promoted under the title O Presente de deus para as Mulheres (Portuguese-language press).

Elsewhere, God’s Gift to Women was shown under the title Dar boha k ženám (Czechoslovakia); Gotten Geschenk au die Frauen (Germany); Bóg dal za duzo kobiet (Poland); and Tantas veo… (Spain). The film was also shown in South Africa and the United Kingdom (England, Northern Ireland, Scotland, and Wales) under the title Too Many Women.

 SOME THINGS ABOUT THE FILM YOU MAY NOT KNOW:

 -- The film was originally completed as a musical. Due to audience distaste for musicals, however, all the songs were cut in American prints. The complete film was released intact in other countries, where there was no such decline in popularity. Cut from the version released in the United States was a theme song sung by Frank Fay, then a major Broadway star. The theme song, which is heard over the credits, is underscored several times in the film. Also cut was an elaborate dance number by the Sisters "G" which appeared in the film during its nightclub sequence. The complete film was released intact outside the United States, but only the American print is known to have survived.

-- During the film’s April, 1931 showing in New York City, star Frank Fay made a personal appearance at the Strand Theater. (Fay was married at the time to Barbara Stanywck).

--  Leading lady Laura La Plante played Magnolia in the first film version of Show Boat (1929); Charles Winninger, who plays her father in God's Gift to Women, would play Cap'n Andy Hawks in the 1936 version of Show Boat.

-- Fay's character enjoyed a different lover each night of the week. Brooks – “brunette, bad and bold” – was assigned Thursday night.

 -- God's Gift to Women is available on DVD. Get it before it goes out of print. Purchase HERE.

More about God's Gift to Women can be found on the newly revamped Louise Brooks Society website on the God's Gift to Women (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 content copyright © 2026. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.   

Trademark on film icon Louise Brooks overturned - an update on what's been going on

Dear Friends and followers,

Imagine if someone tried to take something from you -- something important to you, something through which you found fulfillment, something through which you thought you were making a positive contribution, something in which you had invested years of your life. In doing so, they smeared your reputation, cut you off from friends, and reported you to the FBI. That's what happened to me and my Louise Brooks Society.

I am posting this to let everyone know what's been going on.... For the last three years, the Louise Brooks Society has been subject to some rather nasty online harassment. It has been a stressful, frustrating, costly, and sometimes discouraging experience.

In short, an individual tried to destroy all that the Louise Brooks Society has built up over the last 30 years. After things got really bad -- and after the Louise Brooks Society website was threatened with a take down notice, I was forced to seek legal help. I was desperate, and getting a lawyer to stop this harassment was my only remedy. After a two-and-a-half year legal battle, justice has prevailed.

At the heart of the matter was an I.P. (intellectual property) "dispute" / tug-of-war concerning Louise Brooks, the silent film star I have been researching, writing about, and promoting for three decades. Seven years ago, an individual wrongfully trademarked and later copyrighted Brooks' name, and then used their registered trademark as a means to harass not only the Louise Brooks Society, but as well others in the community of silent film fandom. If you think it's strange that someone would trademark and even copyright the name of a long-dead celebrity (someone to which they are unrelated -- no matter that one cannot copyright a proper name), and then try and prevent others from using that name -- you're right, it is strange, and IMHO kinda sad. It's also wrong on so many levels.

The attacks on me had little if anything to do with intellectual property. Rather, it was personal. The individual in question never took me to court or initiated any kind of legal action, rather, he simply filed complaint after complaint after complaint after complaint with various social media and e-commerce platforms -- and let them do his dirty work. As one lawyer told me, this person was using his trademark as a weapon. It was a means of trolling. To stop him, I initiated action with the USPTO (United States Patent and Trademark Office) in October, 2023 to have his trademark cancelled, and thus "dis-arm" him. I was warned it would be a long and difficult process, and it was, but I had no other options. After numerous delays, this person's trademark has been cancelled thanks not only to my efforts but those of Vincent Lesh.

Among other things, the various Louise Brooks Society social media profiles -- including its longstanding Facebook, Instagram, and Twitter accounts -- were permanently taken down following bogus claims of trademark infringement. (My original Facebook and Twitter accounts dated to 2009 / 2010 and each had accumulated more than 5000 followers.) Additionally, following yet more meritless complaints from this same individual, pages from the Louise Brooks Society website were removed from both Google and Bing; there were, as well, complaints filed against the my YouTube, LinkTree, Tumblr, Etsy, CafePress, Post and Patreon accounts -- with the result some were taken down. Others survived, though damaged. This individual even claimed the Louise Brooks Society LinkedIn account, which pre-dated his trademark by more than a decade, somehow violated his intellectual property rights. How utterly asinine! Thankfully, LinkedIn agreed.

[The worst platforms, in regards to their handling of this situation, were Etsy and LinkTree. Both were abysmal. I have blogged about my Etsy experience before; see my December 17, 2022 post "A COMPLAINT against Etsy's intellectual property policies". My experience with LinkTree was just as ludicrous, and just as frustrating. At one point, LinkTree would not let me link to the Louise Brooks Society website (its URL was banned because of a complaint by you know who), nor would they let me link to a workaround link, a Google search result for my site. The person I dealt with at LinkTree was unsympathetic, and rather petty.] 

For months on end, I would wake up wondering what he would attack next.... 

Not only were many of the LBS social media accounts deleted, so were MY PERSONAL social media accounts. Why? Merely because I mentioned something about Louise Brooks or posted a picture of myself wearing a vintage, store-bought Louise Brooks' t-shirt. (Seemingly, this person thought he had exclusive rights over all Louise Brooks merchandise -- even products made decades before he registered a trademark.) Sadly, as a result of the deletion of my social media accounts, I lost 15 years of friendships, followers, posts, messages, history, and pictures because of these bogus complaints. When it comes to Facebook, Instagram, and Twitter, there is seldom anyone home, and no effective way to appeal. I was judged guilty through mere accusation. And I was erased.

I knew I had to get a lawyer when the individual in question went after my longstanding website. He sent complaints to my ISP (internet service provider) demanding what he claimed was infringing material be removed from the Louise Brooks Society. In turn, my ISP sent me a notice that this materiel had to be removed within 72 hours or my entire website would be taken down. Among the infringing material was my Gift Shop page (recently restored), which was by-and-large composed of amazon.com links to Louise Brooks and silent film related books and DVDs. I will never understand how someone in the "compliance department" could think links to legit products from companies like Random House, Rizzoli, Kino Lorber, Fotofolio, etc... could infringe on a third-party trademark. Of course, they didn't -- and if they did, why didn't he go after amazon.com, or Random House?

The person in question (aka you know who) also objected to and complained about a statement on my homepage referring to the intellectual property protections which my website rightfully claimed. My statement originally read, "This website and the wordmark 'Louise Brooks Society' are under copyright and common law trademark protection." As a result, under threat of another takedown, my ISP required me to alter the statement. I did so, under protest, not because I admitted to having infringed the intellectual property rights of the dude who filed the complaint, but to get my ISP off my back. The altered statement  read: "This website and the wordmark “Louise Brooks Society” are under XXXXXXXXX and XXXXXX XXX XXXXXXXXX XXXXXXXXXX." 

There was more, lots more.... Through a series of disparaging blog posts, this same individual spread innuendo and falsehoods about myself and my LBS website -- including the suggestion that I didn't write my own books (I have a team of ghost writers, no less), that this blog promoted sexual material and sexualized Louise Brooks (it didn't), that I was single-handedly manipulating Brooks' reputation, and bizarrely, that the "Louise Brooks Society" website either doesn't really exist or if it does it is some kind of scam, etc.... I can assure everyone that it does exist, as is indicated by the historical & legal record additionally documented though hyperlinked newspaper clippings (USA Today, New York Times, etc...), mentions in books, the Wayback Machine, and more.

Thanks to mindless A.I., some of these disparaging slop posts found their way into internet search engines, with the result being my online reputation was tarnished....and the LBS was deemed "controversial". ("Oh my" as George Takei once said.) This person called me a grifter, fraud, charlatan, pseudo-intellectual, "boomer" and worse -- there was even mention of necrophilia; and would you believe, he reported me to an internet regulatory agency (ICANN) -- who thought his claims inappropriate, as well as to the Federal Bureau of Investigation. Yes, even the F.B.I..... And, what's more, he used this meaningless report as "evidence" of my wrongdoing. Not surprisingly, they have never bothered to follow-up on his ridiculous claim that I was a cyberbully. Au contraire. 

For example, this is what Microsoft's Co-Pilot had to say when queried in 2024. The source of Co-Pilot's information was the previously mentioned slop blogs. Here is just one example. I have others. (Click to enlarge the image.)

All this was just the tip of the iceberg, as I would discover time and again. For example, through Microsoft's BING, this person filed 33 complaints of copyright infringement against 33 different pages on my longstanding website -- as if I would want to copy any of the banal material found on his now defunct site. The result was these 33 pages were removed from the BING search engine, no questions asked, and  my web traffic fell off. There were also complaints of copyright infringement filed against the Louise Brooks Society on Google, with the result being pages from my site were either removed or demoted on Google. I was never notified, and had to find this out on my own write appeals to these companies DMCA agents, which was another frustrating time suck.

I have come to see the Louise Brooks Society as my life's work. It's a passion project I have shared with the world since 1995, when I launched my site. Over the years, I have spent a lot of time and money on the LBS. What I found gratifying was connecting with other fans, finding some obscure article or image, helping to get films released, bringing attention to other's projects, writing an article, or simply sharing my enthusiasm for the actress, etc.... You can imagine how distressing it was when this individual attempted to destroy all that I had built up when he tried to have my website taken down. The actions taken against me are unforgivable.

As mentioned, the damage to my reputation has been considerable, as has been the expense incurred and the time wasted.... Hopefully, the worst is behind me, and I can go about cleaning up the mess created by this individual. And yes, I kept detailed records, including the various take down demands, site bans, and disparaging blogs. I have documented most everything, and am keeping my options open regarding future litigation. Through it all, I have come to realize life is too short to waste on such people, IMHO mere trolls who have nothing but negativity to contribute to the world. He may have set me back, but he did not stop me. I will go on.

While waiting for a judgement -- which was delayed by more than a year due to this individual's numerous objections and stalling tactics (as reflected in the USPTO record), I've kept busy working on the new Louise Brooks Blu-ray, Focus on Louise Brooks, as well as a handful of articles, a couple of books, and lots more. I have also continued blogging and launched a SubStack and rebuilt my Louise Brooks Society website: it is now bursting at the seams with nearly 300 pages of original research and rare content! Recently, my efforts have been recognized.... I am gratified to report that the Louise Brooks Society website was recently chosen to be part of the Library of Congress Motion Picture Web Archive. More on that at a later date. 

And BTW: Louise Brooks' 1982 book, Lulu in Hollywood, has recently been released as an e-book for the very first time. I am likewise proud to report I had a hand in making that happen, just as I am proud to have helped bring it back into print back in 2000. (You know who complained about that as well.)

My proceedings against this individual are a matter of public record, and can be found online on the government's official USPTO  (United States Patent and Trademark Office) website. They make for "interesting" reading ... though that is NOT the word those who have read them use to describe them. Au contraire.

I won't say more about the person in question, who once described himself in a USPTO filing as the "keeper of the ethereal flame". I have never met him, do not know him, and wish to have nothing to do with him. I cannot think less of a person then I think of him. Contempt is defined as the feeling that a person or a thing is beneath consideration, worthless, or deserving scorn. It is a word whose meaning I have come to appreciate.

In my opinion, the overturning / cancellation of the Louise Brooks trademark (registration no. 5930349) represents a victory not only for the Louise Brooks Society, but also for the actress' fans, the silent film community, as well as other legacy estates.

I wish to thank my lawyers at the nation's leading IP law firm, Kilpatrick, Townsend, and Stockton, for their extraordinary help. Without them, literally, I WOULD NOT BE HERE TODAY.  I also wish to thank my wife, Christy, as well as my online and real world friends for their support -- especially the late Donna Hill. I owe her so much. I also wish to thank the Estate of Louise Brooks, who has been an ally throughout.

In closing, let me add that my story is not so unique. I believe that what happened to me is part of a larger unreported narrative of how social media, e-commerce platforms, search engines, and internet service providers ignore, tolerate and even enable bad behavior. They FAILED. That's my informed opinion.

Just recently, I received an email from Peter Cowie, the distinguished film historian, biographer and author of Louise Brooks: Lulu Forever. He is a friend, and he wrote to thank me for blogging about his recent memoir, Flashbacks: A Passion for Film. It is a book I recommend. His email came at a time I was feeling a bit discouraged, but what Cowie said lifted my spirits. He wrote, "I honestly believe that without your efforts across the past quarter century, Louise’s name would not be held in such high esteem." 

It's time to forge ahead.... Straight on till morning.

Thomas Gladysz
Founding Director, Louise Brooks Society

This old picture of me got me into trouble on CafePress, and I was banned from using it.
Why? Simply because Louise Brooks is pictured in the background — even though
it is MY picture of ME showing MY possessions. 

To learn more about the Louise Brooks Society, including its mission statement, history, accomplishments, ambitions, etc..., please check out the About the Louise Brooks Society page of the LBS website. 

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original content copyright © 2026. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases. 

King of Gamblers, NOT featuring Louise Brooks, was released on this day in 1937

King of Gamblers was released on this day in 1937. The film is a stylish low-budget crime drama about a slot-machine racket and the crusading reporter who uncovers it. Though a "B" picture, this almost noir was given an "A" treatment by director Robert Florey. More about the film can be found on the Louise Brooks Society website filmography page.

Louise Brooks' role in the film, a minor part, was cut from the production shortly before release.  An opening sequence with "Jim Adams" (Lloyd Nolan) being jilted by "Joyce Beaton" (Louise Brooks) was shot but eliminated from the final cut. Prints of the film which include Brooks' may have been sent overseas, as Brooks is included in advertisements for the film in at least two countries.

Robert Florey with Louise Brooks, Akim Tamiroff & Evelyn Brent

The film was part of an unofficial Paramount series based on crimes and criminals suggested by the J. Edgar Hoover book, Persons in Hiding. Despite its source material, the film's gritty realism shocked some. The Christian Science Monitor stated “Sociological aspects of the theme are quite overshadowed by melodramatics which may prove too violent for the more sensitive.” Fox West Coast Bulletin said the film was “Not wholesome. Waste of time.” Motion Picture Review wrote “Such a picture as this has no constructive social value.” The Kansas City Star added “. . . the subject hardly can be recommended to the attention of the youth and future glory of the land.” While Mae Tinnie, the onomatopoetic named film critic of the Chicago Tribune, suggested “If you like a grisly little programmer, King of Gamblers is that.”

Though considered a mere B-movie (which were typically shown as part of a double bill), the film received very good notices from both exhibitors and the public alike. The manager of the Cory Theater in Winchester, Indiana stated, “I thought when I showed Night Key I had given my patrons the best picture ever made, but this King of Gamblers is even better than that. Played last two days of week to big business.” Other exhibitors agreed: comments published in Motion Picture Herald included “Excellent entertainment in any spot. Well liked by all,” and “Was afraid of this one, but found it packed with suspense and action.”

In reviewing the film's New York City opening, Irene Thirer of the New York Post wrote “Criterion goers are clutching their chairs these days, because this is probably the most blood-thirsty picture in several seasons. . . . Supporting the principals (and Lloyd Nolan’s job as the reporter is corking), are Larry Crabbe, the late Helen Burgess (who strangely met her untimely death immediately after she had died in this picture via script requirements), Porter Hall, Harvey Stephens, a couple of walloping shots of the capable Evelyn Brent, and others. Robert Florey directed – which accounts for the picture’s unusual camera angles.” 

The Washington Post had a similar sentiment. “The cold chills and icy thrills of King of Gamblers make the Metropolitan air-conditioning quite superfluous. If you are one for hard-boiled homicides mixed in with your entertainment, this show will give you a good time and a half.”

The film reunited Brooks with Evelyn Brent. The two actresses had first appeared together in Love ‘Em and Leave ‘Em (1926), when each were emerging stars. For the then two fading stars, King of Gamblers was seen as a comeback opportunity. And indeed, studio publicity promoted their appearance as such. Around the time of the film’s release, the Los Angeles Times ran a picture of Brooks and Brent under the headline, “Two actresses resume screen career.” The caption noted their “return to the silver sheet.”

Remarkably, Brooks name is included in the cast listing in the studio's campaign book, which suggests she was cut from the film only at the last minute. 

Under its American title, documented screenings of the film took place in Australia (including Tasmania), Bermuda, Canada, China, Dutch Guiana (Surinam), Hong Kong, India, Ireland, Japan, New Zealand, The Philippines, and the United Kingdom (including England, Isle of Man, Northern Ireland, and Scotland). On a few occasions, the film was shown in the United States under the title Czar of the Slot Machines. In the United States, the film was also promoted about under the title El Rey de los Jugadores (Spanish-language press).

Elsewhere, King of Gamblers was shown under the title L’homme qui terrorisait New-York (Algeria); O Amor é como Jogo (Brazil); El Rey de los jugadores (Cuba); Král hazardních hrácu (Czechoslovakia); Storbyens sjakaler (Denmark); El Rey de los Jugadores (Dominican Republic); L’homme qui terrorisait New-York (France); O tromokratis tis Neas Yorkis (Greece); Rándyr stórborgarinnar (Iceland); 犯罪王 or Hanzai-ō (Japan); L’homme qui terrorisait New-York (Morocco); Król graczy (Poland); El Rey de los jugadores (Spain); L’homme qui terrorisait New York and Der König der Spieler (Switzerland); NewYorku' Titreten Adam (Turkey); and El Rey de los jugadores (Uruguay).

*The film was banned in Sweden.

SOME THINGS ABOUT THE FILM YOU MAY NOT KNOW:

-- The working titles for the film were The Kid from Paradise and King of the Gamblers. The film's alternate title (and sometimes subtitle) was Czar of the Slot-Machines.

-- Director Robert Florey had hoped to use Louise Brooks in an earlier film, Hollywood Boulevard (1936), but it didn't work out.

-- Helen Burgess, a promising 18 year old actress who had the second female lead in the film, died shortly after its completion on April 7, 1937 (and just five days before this film's preview). Discovered by Cecil B. De Mille, the demure actress was cast by the famous director in his epic western The Plainsman (1936). While working on her fourth film, Night of Mystery (1937), Burgess caught a chill that resulted in a serious cold, which in turn developed into pneumonia. An article at the time of her death noted that the Hollywood High School graduate had recently been picked for stardom by a vote of the Paramount film editors.

-- The film was previewed at the Alexander theater in Glendale, California. This first ever showing took place on April 12, 1937. King of Gamblers was paired with Swing High, Swing Low - a romantic drama starring Carole Lombard and Fred MacMurray. Advertisements in the local paper noted stars of the unnamed preview film would be in attendance. Motion Picture Herald reported “The audience, which had been watching Swing High, Swing Low, found in the added attraction a contrast that caused it to pay strict attention. Several times it broke into applause.”

Evelyn Brent and Louise Brooks

More about King of Gamblers can be found on the newly revamped Louise Brooks Society website on the King of Gamblers (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 content copyright © 2026. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.   

Pandora's Box, starring Louise Brooks, to screen in St. Louis in May

Pandora's Box, the sensational 1929 film starring Louise Brooks, will be shown at the Arkadin Cinema and Bar in St. Louis, Missouri on May 13. This film is presented by Silents, Please! STL and will feature a special introduction from SPSTL’s Kate Stewart. More information about this event, including ticket availability, can be found HERE. 

And here is what the hosting organization says about the event. "One of the masters of early German cinema, G. W. Pabst had an innate talent for discovering actresses (including Greta Garbo). And perhaps none of his female stars shone brighter than Kansas native and onetime Ziegfeld girl Louise Brooks, whose legendary persona was defined by Pabst’s lurid, controversial melodrama Pandora’s Box. Sensationally modern, the film follows the downward spiral of the fiery, brash, yet innocent showgirl Lulu, whose sexual vivacity has a devastating effect on everyone she comes in contact with. Daring and stylish, Pandora’s Box is one of silent cinema’s great masterworks and a testament to Brooks’s dazzling individuality. (Janus Films)

Restored from the best surviving 35mm elements at Haghefilm Conservation under the supervision of the Deutsche Kinemathek with the cooperation of George Eastman Museum, the Cinémathèque Française, Cineteca di Bologna, Národní filmový archiv, and Gosfilmofond."

A screen grab from a BFI video, and a link to the Huffington Post article quoted above.

 

More about Pandora's Box can be found on the Louise Brooks Society website on its Pandora's Box (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 content copyright © 2026. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases. 

Pandora's Box, starring Louise Brooks, to screen with live score at Wilton's Music Hall in London

Pandora's Box, Louise Brooks' great screen triumph, will be shown at Wilton's Music Hall in London on Thursday, July 30th. This 7:00 pm screening will feature a live piano score by Christopher Eldred. More information about this event, including ticket availability, can be found HERE. 

Otherwise, here is what the venue says about the event: 

Louise Brooks stars as the effortlessly seductive Lulu, a high class courtesan and dancer who brings destruction to the Berlin bourgeoisie with her turbulent love affairs, both male and female.   

Heavily censored in its day, G.W. Pabst‘s 1929 Weimar masterpiece nonetheless launched flapper icon Brooks to international stardom and Pandora’s Box still feels incredibly modern today, ranking amongst the Guardian’s top 100 films of all time. 

Experience this rare special screening with live piano score by Christopher Eldred. 

More about Pandora's Box can be found on the Louise Brooks Society website on its Pandora's Box (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 content copyright © 2026. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases. 

Pandora's Box, starring Louise Brooks, to be screened at Miss Laura’s Brothel Museum in Fort Smith, Arkansas

Pandora's Box, the sensational 1929 film starring Louise Brooks, will be screened at Miss Laura’s Brothel Museum in Fort Smith, Arkansas on April 10th. This special event is being held in conjunction with the Fort Smith Public Library. More information about the event can be found HERE.

The venue states, "Step into the bold and provocative world of early cinema with a special screening of Pandora’s Box (1929), the groundbreaking German silent masterpiece directed by G. W. Pabst and starring the unforgettable Louise Brooks as Lulu. Daring, magnetic, and ahead of its time, Pandora’s Box tells the story of a free-spirited woman whose refusal to conform to society’s expectations sparks obsession, scandal, and tragedy. With its bold exploration of sexuality, gender, and class, this landmark film remains a striking critique of moral hypocrisy — and a powerful conversation piece nearly a century later.

Join us at Miss Laura’s in partnership with the Fort Smith Public Library for this unforgettable cinematic experience. Whether you’re a film lover, history buff, or simply curious about the rebellious spirit of the 1920s, this is one screening you won’t want to miss. Admission is FREE to the public. Seats are limited so reserve your tickets online at misslaurasmuseum.com .... experience a silent film that still speaks volumes."

Louise Brooks twice visited Fort Smith. The first time was in 1922, when she and the Denishawn Dance Co, gave matinee and evening performances at the local Joie Theatre on November 22 of that year. The company returned once more in 1923, when it once again a gave matinee and evening performance on February 6. Brooks first mention in a Fort Smith newspaper likely occurred on February 7, when the Southwest American reviewed the prior day's performance.

Above is a newspaper image of the now demolished theatre building as it appeared in 1921, the year before Brooks performed there. The location of the old theatre is only a four minute drive or 18 minute walk from the old mansion which now houses Miss Laura’s Brothel Museum. (The Joie was demolished in 1953, and today a Hideaway Pizza is located on the lot.)

Brooks first depiction in a Fort Smith newspaper occurred on December 4, 1925, when the local Times Record ran the syndicated piece shown below on their picture page.

And, of course, most of Brooks' American silent and earliest sound films were shown in Fort Smith in the 1920s. Many seemed to have been shown at the New theater.

Miss Laura’s Brothel Museum is one of the most unique attractions Fort Smith has to offer. According to its website, it is a meticulously preserved Victorian brothel that offers a glimpse into the lives of the women who shaped the history of Fort Smith. Through guided tours, authentic exhibits, and interactive displays, immerse yourself in the opulence, charm, and intrigue of a bygone era. Visit its website for more info at misslaurasmuseum.com 

More about Pandora's Box can be found on the newly revamped Louise Brooks Society website on its Pandora's Box (filmography page). 

BTW:  Miss Laura’s Brothel Museum is scheduled to show another Louise Brooks' film, Diary of a Lost Girl, on June 5. More info about that screening can be found HERE.

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original content copyright © 2026. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.