A Balboa Birthday Bash!

Back in the 1920s, movies were the popular form of entertainment. Radio was only just beginning, and television didn't really exist. Just about everybody went to the movies on a regular, almost weekly basis. To meet demand, movie theaters were springing up everywhere.

Everywhere included San Francisco (and just about every big and small town across America), where first run movie palaces lined the major thoroughfares and smaller neighborhood houses of varying size dotted the city's outlying districts. Drive down Market Street, Mission Street or Geary Blvd. in San Francisco and you'll see the facades of a number of The City's once grand though now shuttered movie theaters.

Today, the Balboa is one of the last neighborhood theaters still operating in San Francisco. To celebrate its opening in February of 1926, the Richmond District theater is marking the occasion with the screening of a classic silent film along and other festive goings-on.

The Balboa's 87th birthday celebration -- presented in association with the San Francisco Silent Film Festival -- takes place on Sunday, March 3. The evening's entertainment kicks-off at 7:00 pm. Doors open at 6:45 pm. (A special family matinee will also take place earlier in the day at 4:00 pm.)

But first a little history. The Balboa Theater (located at 3630 Balboa Street near 38th Avenue) originally opened as the New Balboa Theater in order to distinguish it from the already open Balboa Theater then on Ocean Avenue. The New Balboa, part of a local chain owned by Samuel Levin, was designed by James and Merritt Reid, renowned architects who also designed the Cliff House, Fairmount Hotel, Spreckels Temple of Music in Golden Gate Park and numerous other theaters including the Alexandria theater on Geary. In the 1920's, a handful of films featuring Louise Brooks' were shown at the New Balboa. Those screenings include Love Em and Leave Em on June 12, 1927, Evening Clothes on July 11-12, 1927, Just Another Blonde on July 20-21, 1927, A Girl in Every Port on July 29, 1928 as part of a double-bill with When the Wife’s Away, and Canary Murder Case on September 18-19, 1929.

In 2006, as part of the Louise Brooks centenary, The Show-Off (1926) was screened with introductions by Peter Cowie and Thomas Gladysz. Also shown that night was a 16mm trailer for Overland Stage Raiders (1938).

On Sunday, the Balboa will screen Peter Pan (1924), Herbert Brenon's classic film adaption of the story of a boy who never grew up. Released by Paramount Pictures, this silent-era telling of Peter Pan was the first film adaptation of the famous J. M. Barrie play. The film has an "all-star" cast which includes Betty Bronson as Peter Pan, Ernest Torrence as Captain Hook, Mary Brian as Wendy, Esther Ralston as Mrs. Darling, Philippe De Lacy as Michael Darling and Virginia Browne Faire as Tinker Bell. Anna May Wong, a groundbreaking Chinese-American actress, plays an Indian princess named Tiger Lily. Brenon, as is well known, went on to direct Mary Brian and Louise Brooks the following year in The Street of Forgotten Men. That film, Brooks' first, include a visual nod to Peter Pan in a scene where Brian sits down at the piano to play a song and sheet music on the instrument can clearly be seen to be Peter Pan.

At the time of its release, the film was celebrated for its innovative special effects -- notably the illuminated fairy Tinker Bell and showing Peter Pan fly. The legendary James Wong Howe served as cinematographer. In 2000, the film was deemed "culturally, historically or aesthetically significant" by the Library of Congress and selected for preservation in the National Film Registry.

The Balboa will screen a 35mm print of the film from the George Eastman House (former "home" to Louise Brooks), where the film was restored in the 1990s. Peter Pan will be accompanied by pianist Frederick Hodges, who will perform an original score, and preceded by a program of short subjects.

Also on the bill for this special birthday occasion will be a live vaudeville show featuring magician James Hamilton and songstress Linda Kosut. Audience members are encouraged to dress in their best period clothing had they attended a night at the movies in 1926. Vintage cars will be parked out front.

More info: The Balboa Theater is located at 3630 Balboa Street in San Francisco. Advance tickets are on sale at the Balboa and online at www.CinemaSF.com/balboa. Admission is $10.

Not Louise Brooks

For the millionth time, this ain't Louise Brooks, just a very pretty look-alike. I can't believe how often copies of this picture are posted on eBay as being "Louise Brooks." For the one millionth and one time, this is not Louise Brooks.

Louise Brooks - A Love Suicide - 1926

This YouTube video features footage from Louise Brooks' fourth film, It's the Old Army Game (1926). Many of these scenes were shot in Florida.

Vote: should Louise Brooks have won an Oscar?

With all the hoopla over the Academy Awards, it's time to ask, for which film should Louise Brooks have won an Oscar? Vote now!

Anaïs Nin on Lou Salome

The writer Lou Salome (1861-1937) was an inspiration to a handful of important early 20th century writers and thinkers, including Nietzsche, Freud, and Rilke. She was also their muse, and in some cases their lover. Salome also knew and inspired Frank Wedekind, the author of the Lulu plays. It is believed in some quarters that Wedekind based the character of Lulu (played by Louise Brooks in G.W. Pabst's 1929 film, Pandora's Box) at least in part on his relationship with Salome. Wedekind, it is also said, even based the name of Lulu on Salome's name.

Yesterday, February 21st, marked the birthday of the writer Anais Nin (1903-1977). Here is a YouTube video in which Nin speaks about Salome. And here is a video tribute to Lou Salome which I also came across on YouTube. Both are worth watching. For more on Lou Salome and other inspiring women (including photographer Lee Miller), check out Francine Prose's The Lives of the Muses: Nine Women & the Artists They Inspired.

Bay Area Becoming Mecca for Silent Film

The San Francisco Bay Area is becoming a Mecca for silent film. 

In its near 20 year history, the San Francisco Silent Film Festival has grown to become the leading and largest such event in the Western Hemisphere. Last year, it sponsored an epic, even historic screening of Napoleon that made news around the United States. And in June, it is putting on a three day event at which all nine of Alfred Hitchcock's silent films will be shown. 

Over in the east bay, the Niles Essanany Silent Film Museum has been showing silent movies every weekend for nearly 10 years. They also put on an annual Charlie Chaplin Days event and Broncho Billy Film Festival.

Silent films are also occasionally shown in the north bay, at the Rafael Film Center, in the south bay at the Stanford Theater, and in Berkeley at the Pacific Film Archive. And don't forget the Berkeley Underground Film Society, an all ages club for collectors, researchers, and film enthusiasts whose weekly programs of rarely projected, or otherwise obscure 8mm, Super 8, and 16mm prints includes a fair number of early and silent cinema.

Another east bay contribution to the local scene is The Second International Berkeley Conference on Silent Cinema, which this year will be held from February 21-23 at the Berkeley Art Museum and Pacific Film Archive. Following the successful first Berkeley Conference on Silent Cinema in 2011 (which had the theme "Cinema Across Media: The 1920s"), this year's conference similarly explores an aspect of film and film culture in the silent era. 

Each of the conferences is designed to advance research and promote public interest in silent cinema by combining a three-day academic conference (free and open to the public) with an evening series of screenings at the Pacific Film Archive related to the topic under discussion.

This year the conference focuses on the theme "On Location." Four plenary speakers, thirty invited presenters, and six introduced screenings will explore the ways in which films in the silent era created new possibilities for experiencing place in a cinematic way. 

This year's plenary speakers are Jennifer Bean (University of Washington), Donald Crafton (Notre Dame), Aaron Gerow (Yale), and Scott Simmon (University of California, Davis). Among the other speaks are Janet Bergstrom (UCLA), Mary Ann Doane (University of California-Berkeley), Anton Kaes (University of California-Berkeley), and Shelley Stamp (University of California, Santa Cruz). Each is the author of a notable book in the field of film studies. Doane, in particular, is the author of a 1991 book likely familiar to readers of this blog, Femmes Fatales: Feminism, Film Theory, Psychoanalysis (Routledge).

More info: Click here to see the conference schedule. Click here to see a list of speakers. Or click here to see a list of films to be shown as part of the conference.

Unfortunately, the one Louise Brooks film made on location in Berkeley, Rolled Stockings (1927), is lost. Parts of this college comedy romance were filmed on the campus of the University of California, Berkeley. Other scenes from the film, which featured rowing competition, were shot on the San Francisco Bay.

Louise Brooks :: Without Bangs

Louise Brooks :: Without Bangs

Berlinale documentaries reflect the power of film

A new documentary, apparently, includes Louise Brooks. In Berlin, a showcase of documentary films at this year's Berlinale illustrates the medium's potential to reclaim the past and envision the future. One of those documentaries is Weimar Touch, which looks at the work of G.W. Pabst and others and the influence they had on film making around the world. That's according to the Deutsche Welle website, which goes on to state:

There are very few cities in the world so inextricably tied to the history, seduction and cathartic power of filmmaking than Berlin.

Late 19th-century film pioneers Max and Emil Skladanowsky invented the Bioscop movie projector here in 1895. Some of the most iconic movie stars of all time, Louise Brooks, Greta Garbo, Marlene Dietrich and Asta Nielsen, once padded around the studios in Weissensee, Woltorsdorf and Babelsberg.

Here is where Walter Ruttmann directed "Berlin: Symphony of a Metropolis" - based on Dziga Vertov's theory of "Kino-Pravda" ("film truth") that reality can best be represented through cinematic "artificialities." In semi-documentary style, the silent film with a musical score portrays the life of a city.

Ruttmann was not alone in creating masterpieces either. The likes of Fritz Lang, Friedrich Wilhelm Murnau and Georg Wilhelm Pabst made their mark in the Golden Age of German cinema during the 1920s as well. And great thinkers such as Walter Benjamin and Siegfried Kracauer grappled with the meaning of these new mechanical, magical, moving images.

And then history took a catastrophic turn - with a Nazi dictatorship that took German cinema into its grip as well.

G.W. Pabst (second from the right) and others associated with Pandora's Box (1929). This picture was taken in 1928, not long after Brooks arrival in Berlin. At first, Pabst envisioned Lulu without bangs or a bob.

Philo Vance Murder Case Collection

First the good news. The Warner Bros. Archive Collection has released the Philo Vance Murder Case Collection, a 2-disc, 6-film collection featuring the famous suave dilettante detective. Philo Vance was the creation of writer S.S. van Dine, who authored a series of bestselling novels which were turned into popular films. The set includes The Bishop Murder Case (1930), The Kennel Murder Case (1933), The Dragon Murder Case (1934), The Casino Murder Case (1935), The Garden Murder Case (1936), and Calling Philo Vance (1940).

The bad news is that the set does NOT include the first film in the series, The Canary Murder Case (1929), which features William Powell as Philo Vance and Louise Brooks as the Canary. Not only did The Canary Murder Case start it all, cinematically speaking, it is also one of the better films in the series.

Why Warner Bros. Archive chose not to include The Canary Murder Case isn't known. That film was released by Paramount Pictures, as was The Greene Murder Case (1929), the second film in the series. The films included in the Philo Vance Murder Collection were released by Warner Bros., M.G.M, and First National. So, maybe it is a matter of rights. Other Philo Vance films are also absent from the collection. Most notable among them is the zany Gracie Allen Murder Case (1939), starring Grace Allen and Warren William.

Despite the set's incompleteness, I think it is worth checking out, especially if you enjoy period detective films like The Thin Man (which also starred William Powell) or original Perry Mason film series. Wikipedia has an informative page on the various Philo Vance books and films. Here is a brief clip from The Canary Murder Case.

Louise Brooks - vintage Italian postcard

This vintage Italian postcard depicts Louise Brooks, the silent film star who is undergoing something of a revival of late in that European country. See some of the posts from earlier this week about the screenings of Brooks films take place this month in Italy.

Louise Brooks - Angola product card

Wow, take a look at this tobacco product card picturing Louise Brooks. It was issued in Angola (then a Portuguese colony in the south of Africa) in the late 1920s or early 1930s.

Z: A Novel of Zelda Fitzgerald

Coming this April, Z: A Novel of Zelda Fitzgerald (St. Martin's Press), by Therese Anne Fowler. I haven't yet seen the book, but here is some additional information about the book from its publisher.

When beautiful, reckless Southern belle Zelda Sayre meets F. Scott Fitzgerald at a country club dance in 1918, she is seventeen years old and he is a young army lieutenant stationed in Alabama. Before long, the “ungettable” Zelda has fallen for him despite his unsuitability: Scott isn’t wealthy or prominent or even a Southerner, and keeps insisting, absurdly, that his writing will bring him both fortune and fame. Her father is deeply unimpressed. But after Scott sells his first novel, This Side of Paradise, to Scribner’s, Zelda optimistically boards a train north, to marry him in the vestry of St. Patrick’s Cathedral and take the rest as it comes.

What comes, here at the dawn of the Jazz Age, is unimagined attention and success and celebrity that will make Scott and Zelda legends in their own time. Everyone wants to meet the dashing young author of the scandalous novel—and his witty, perhaps even more scandalous wife. Zelda bobs her hair, adopts daring new fashions, and revels in this wild new world. Each place they go becomes a playground: New York City, Long Island, Hollywood, Paris, and the French Riviera—where they join the endless party of the glamorous, sometimes doomed Lost Generation that includes Ernest Hemingway, Sara and Gerald Murphy, and Gertrude Stein.

Everything seems new and possible. Troubles, at first, seem to fade like morning mist. But not even Jay Gatsby’s parties go on forever. Who is Zelda, other than the wife of a famous—sometimes infamous—husband? How can she forge her own identity while fighting her demons and Scott’s, too? With brilliant insight and imagination, Therese Anne Fowler brings us Zelda’s irresistible story as she herself might have told it. 

Laura Moriarty's The Chaperone

Laura Moriarty's The Chaperone is scheduled for release in paperback in the United States on June 4, 2013. Happily, the paperback cover is very similar to the hardcover edition. The Chaperone is also in development as a film, with a script by Julian Fellowes of Downton Abbey fame. If you haven't read this rather fine novel, we recommended it.

In the mean time, if you are looking to read the book in German, check out the German edition, Das Schmetterlingsmädchen (The Butterfly Girl), which is available as both a print book and ebook. It too has a pretty appealing cover.

Here is some of the considerable praise the book has received since its publication last year.

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"The Chaperone is the enthralling story of two women . . . and how their unlikely relationship changed their lives. . . . In this layered and inventive story, Moriarty raises profound questions about family, sexuality, history, and whether it is luck or will—or a sturdy combination of the two—that makes for a wonderful life."—O, The Oprah Magazine

"In her new novel, The Chaperone, Laura Morirty treats this golden age with an evocative look at the early life of silent-film icon Louise Brooks, who in 1922 leaves Wichita, Kansas, for New York City in the company of 36-year-old chaperone, Cora Carlisle. . . . A mesmerizing take on women in this pivotal era."—Vogue

"With her shiny black bob and milky skin, Louise Brooks epitomized silent-film glamour. But in Laura Moriarty's engaging new novel The Chaperone, Brooks is just a hyper-precocious and bratty 15-year-old, and our protagonist, 36-year-old Cora Carlisle, has the not-easy mission of keeping the teenager virtuous while on a trip from their native Kansas to New York City. After a battle of wills, there's a sudden change of destiny for both women, with surprising and poignant results."—Entertainment Weekly

"Throughout The Chaperone, her fourth and best novel, Laura Moriarty mines first-rate fiction from the tension between a corrupting coastal media and the ideal of heart-of-America morality. . . . . Brooks's may be the novel's marquee name, but the story's heart is Cora's. With much sharpness but great empathy, Moriarty lays bare the settled mindset of this stolid, somewhat fearful woman—and the new experiences that shake that mindset up."—San Francisco Weekly

"Film star Louise Brooks was a legend in her time, but the real lead of The Chaperone is Cora Carlise, Brooks' 36-year-old chaperone for her first visit to New York City in 1922. As Cora struggles to tame Louise's free spirit, she finds herself moving past the safety of her own personal boundaries. In this fictional account of Cora and Louise's off-and-on relationship, Laura Moriarty writes with grace and compassion about life's infinite possibilities for change and, ultimately, happiness."—Minneapolis Star Tribune

“When silent film star Louise Brooks was a sexually provocative and headstrong 15-year-old from Kansas, she traveled with a chaperone to new York City to attend dance school.  In this fascinating historical novel, her minder, Cora, struggles to keep her charge within the bounds of propriety but finds herself questioning the confines of her own life. Thorough Cora the world of early 20th-century America comes alive, and her personal triumphs become cause for celebration.”—People

"Captivating and wise . . . In The Chaperone, Moriarty gives us a historically detailed and nuanced portrayal of the social upheaval that spilled into every corner of American life by 1922. . . . [An] inventive and lovely Jazz Age story."—Washington Post

"#1 Summer 2012 novel."—The Christian Science Monitor

"A fun romp."—Good Housekeeping

"Devour it."—Marie Claire

"The novel is captivating, and the last lines about Cora (you might think I’m giving everything away, but I’m not giving anything away—the story rolls through changes in terrain so subtle that it’s like a train from Wichita to New York and back) capsulate it all, revealing the richness of the saga.”—The Daily Beast

"The Chaperone," an enchanting, luminous new novel by Laura Moriarty, fictionalizes the tale of the very real caretaker who accompanied a 15-year-old Louise Brooks on the first leg of her journey to silent-movie stardom. . . . Moriarty is a lovely writer, warm and wise."—Cleveland Plain Dealer

"It is [Louise Brooks's] endearing and surprising companion Cora Carlisle—a sharply drawn creating—who is the heart and soul of this stirring story.”—Family Circle

"Captivating and wise."—Newsday

“While Louise lends The Chaperone a dose of fire, the novel’s heart is its heroine, who has a tougher time swimming in the seas of early-20th-century America than her ward does. As the story carries on, Moriarty’s greatest strength proves to be her ability to seamlessly weave together Cora’s present, future and colorful past.”—Time Out

“Set to be the hit of the beach read season.”—Matchbook

“The challenges of historical fiction are plentiful—how to freely imagine a person who really lived, how to impart modern sensibility to a bygone era, how to do your research without exactly showing your research. And yet, when this feat is achieved artfully (we’re talking Loving Frank or Arthur and George artfully), it can transport a reader to another time and place. Laura Moriarty’s new novel,The Chaperone, falls into this category.”—Bookpage

“It’s impossible not to be completely drawn in by The Chaperone. Laura Moriarty has delivered the richest and realest possible heroine in Cora Carlisle, a Wichita housewife who has her mind and heart blown wide open, and steps—with uncommon courage—into the fullness of her life. What a beautiful book. I loved every page.”—Paula McLain, author of The Paris Wife

“What a charming, mesmerizing, transporting novel! The characters are so fully realized that I felt I was right there alongside them. A beautiful clarity marks both the style and structure of The Chaperone.”—Sena Jeter Naslund, author of Ahab's Wife and Adam & Eve

“The Chaperone is the best kind of historical fiction, transporting you to another time and place, but even more importantly delivering a poignant story about people so real, you'll miss and remember them long after you close the book.”—Jenna Blum, author of Those Who Save Us and The Stormchasers

Louise Brooks shines again this month in Italy

A couple of posts prior I wrote that a four film mini festival of Louise Brooks films taking place in Rome at the House of Cinema at the Villa Borghese in Italy. Now comes word that another of Brooks' films will be shown in Italy, this time on February 22 in Milan at the Fondazione Cineteca Italiana. That film is the silent version of Miss Europa (Prix de Beaute). Musical accompaniment will be provided by Antonio Zambrini. Here is the Italian website description:

Miss Europa (Prix de Beauté) – Copia restaurata

R.: Augusto Genina
Sc.: René Clair, Georg W. Pabst
Int.: Louise Brooks, Georges Charlia, Jean Bradin, Augusto Bandini, André Nicolle, Yves Glad, Gaston Jacquet.
Francia, 1930, b/n, 109’, muto.

Sinossi

Louise Brooks nei panni di una semplice impiegata, Lucienne, che si ritrova proiettata nel dorato mondo dello spettacolo dopo essere stata eletta Miss Europa. Il suo fidanzato è all’oscuro di tutto, ma all’inizio Lucienne resiste alle lusinghe della notorietà, si sposa e accetta di dedicarsi alla casa. Solo che quella vita è troppo dura, e un giorno Lucienne se ne va, torna dal principe che l’aveva corteggiata e grazie al suo aiuto inizia una carriera cinematografica. Il marito, disperato, non smetterà di cercarla e quando alla fine la ritroverà tutto finirà in tragedia.
Accompagnamento dal vivo al pianoforte di Antonio Zambrini.

Louise Brooks influence on contemporary (ac)tresses

Just last week, an article ran on the AfterElton website about the making of Cabaret, the 1972 film based on Christopher Isherwood's The Berlin Stories. The piece included interviews with some of the principals involved in the hit movie. Liza Minelli said this:

Well I was sitting with my dad, who was the quietest man, and he helped me so much with the look of Sally. I had thought that Sally should look like Marlene Dietrich. I thought, that's what the '30s was! But my dad said "No, no" and he showed me pictures of Louise Brooks, Louise Glaum, Theda Bara - so I got interested in it. And I designed the makeup before I went over there.

The influence of Louise Brooks on the look of Sally Bowles (as played by Liza Minelli) has been mentioned before. It is also one of a number of instances where Brooks' look - especially her hair - has affected the appearance and behavior of a movie character. Other widely acknowledged examples include Cyd Charisse in Singin' in the Rain (1952) and Melanie Griffith in Something Wild (1986).

Another instance of Brooks' influence just recently came to my attention. Molly Ringwald hairstyle in Pretty in Pink (1986), apparently, was also based on Brooks' bobbed hair. In her 2010 book, Getting the Pretty Back, Ringwald writes: "I decided that I was not going to be one of those "long hair" girls. . . .  I was better off creating my own look and embracing it. I looked to the past for inspiration. Louise Brooks for the bob in Pretty in Pink. . . . " Later in her book, Brooks is evoked again.

Louise Brooks: Icon of Silent Film in Italy

Louise Brooks is the focus of a series of screenings in Rome, Italy. The series, "Louise Brooks: Icon of Silent Film," features The Show Off (February 9th), The Canary Murder Case (February 16th), Pandora's Box (February 23rd), and Diary of a Lost Girl (March 2nd). The series is being put on by the House of Cinema at the Villa Borghese (Largo Marcello Mastroianni, 1). Here is the Italian description of the event.

Attrice leggendaria, diva affascinante e enigmatica, Louise Brooks è stata una delle donne più belle e celebri di Hollywood. Dal 9 febbraio al 9 marzo la Casa del Cinema omaggia la grande attrice del cinema muto con la proiezioine di una serie di film: “The Show Off”, “La canarina assassinata”, “Lulu” e “Diario di una donna perduta”.

La vita di Louise Brooks fu attraversata da un senso spiccato per la verità, la libertà e la sessualità senza permessi di “buona condotta”. La sua straordinaria e conturbante bellezza, che ne fecero subito il prototipo della donna seduttrice e l’incarnazione del sesso (ispirò il fumettista Guido Crepax per il personaggio di Valentina ), irruppero nel perbenismo di quegli anni.

Mal vista a Hollywood negli anni Trenta per la sua innata incapacità di piegarsi alle richieste dei produttori, dovette accontentarsi di parti minori e di qualche soap opera radiofonica. Lasciò il cinema e la celebrità a solo 36 anni.

Here is a scan of an article, "La diva che uscì dal vaso di Pandora," which appeared in today's Rome edition of Corriere della Sera, Italy's leading newspaper. Thank you Gianluca (Italy's leading Louise Brooks fan/scholar.)

Cool pic of the day

Cool pic of the day: Louise Brooks dressed for her part in William Wellman's  Beggars of Life (1928).

Louise Books for sale

Don't forget, there are some rather swell and somewhat unusual Louise Brooks and Jazz Age related books for sale through this blog. Just click on the "For Sale" tab.

Every woman is potentially a VAMPIRE

This is post number 600 on the new LBS blog: Presented here, a 1925 newspaper advertisement for Motion Picture magazine. It's the battle of the vamps! (Louise Brooks was considered a "Junior Vamp.")

Cinephilia :: Louise Brooks

Louise Brooks is a world wide phenomenon. Check out this 2009 postage stamp from the Republic of Benin (French: République du Bénin), a country in West Africa.

Or, check out this link to a webpage slideshow from Greece. Louise Brooks: Οι εικόνες μιας σταρ. (Louise Brooks: Images of a star.) Μια σειρά φωτογραφιών της Louise Brooks.

‘The Chaperone’ heads to the big screen

As readers of this blog know, Laura Moriarty's exceptional novel, The Chaperone, involves a character based on Louise Brooks.

Now comes word that Fox Searchlight has selected Simon Curtis to direct The Chaperone with Downton Abbey’s Elizabeth McGovern starring, to be scripted by Julian Fellowes, also of Downton Abbey.

For more on this story, see deadline.com and other news outlets.

For more on Louise Brooks and Downton Abbey, see an earlier LBS blog.

Louise Brooks - Don't Put A Tax On The Beautiful Girls

Presenting a new YouTube video "Louise Brooks - Don't Put A Tax On The Beautiful Girls."