A major Louise Brooks film retrospective - originally set to run March 30th through May 15 in Zurich, Switzerland - has been postponed due to the worldwide coronavirus pandemic. Organized by Filmpodium in collaboration with Stadt Zurich and Cinematheque Suisse, the 15 film event is now set to run October 5 through November 15, 2020. The pandemic has hit Europe hard. And just yesterday, Germany cancelled its annual Octoberfest celebrations, which take place in September. So, keep your fingers crossed that this significant retrospective will take place as now rescheduled. More information may be found HERE.
I have been aware of this event for some time now, as I had been emailing back and forth with the director of FilmPodium earlier this year, exchanging information and images, helping source films, etc... The Louise Brooks Society is credited in the back of the program (pictured above) which will accompany the retrospective. BTW, the illustrated program including Elisabeth Bronfen's program essay, can be viewed online on the Issuu website. Pictured below is part of the poster which was displayed around Geneva, including on the local trams.
A statement from FilmPodium about the retrospective and its postponement reads: "Das Coronavirus hat Louise Brooks nicht aufgehoben, nur aufgeschoben: Im Herbst kommt dann doch noch die Filmreihe zu dem schönen Plakat, das in Zürich prangt.
Mit ihrem Bob wurde Louise Brooks (1906–1985) zur Ikone der Roaring Twenties; als Schauspielerin war sie ihrer Zeit voraus. Hollywood setzte die ausgebildete Tänzerin ab 1925 vor allem in Komödien ein, aber Howard Hawks machte sie 1928 in A Girl in Every Port zum kühlen Vamp und William A. Wellman entdeckte in Beggars of Life Brooksʼ Fähigkeiten im ernsten Fach. Erst in Europa entstanden ihre legendärsten Filme: G. W. Pabst besetzte sie als verführerische Lulu in Die Büchse der Pandora (1928) und als unterdrückten Freigeist in Tagebuch einer Verlorenen (1929); in Prix de beauté (1930) von Augusto Genina spielte Brooks ihre letzte Hauptrolle und mit 32 Jahren beendete sie ihre Karriere."
Along with the above mentioned films, the retrospective is also set to include the surviving fragment of Now We're in the Air (1927), Its the Old Army Game (1926), The Show Off (1926), Love Em and Leave Em (1926), The Canary Murder Case (1929), God's Gift to Women (1931) and Overland Stage Raiders (1938). Also on the schedule is the outstanding documentary Louise Brooks: Looking for Lulu (1998), and the recent feature The Chaperone (2018), which will be having its Swiss premiere.
I have been aware of this event for some time now, as I had been emailing back and forth with the director of FilmPodium earlier this year, exchanging information and images, helping source films, etc... The Louise Brooks Society is credited in the back of the program (pictured above) which will accompany the retrospective. BTW, the illustrated program including Elisabeth Bronfen's program essay, can be viewed online on the Issuu website. Pictured below is part of the poster which was displayed around Geneva, including on the local trams.
A statement from FilmPodium about the retrospective and its postponement reads: "Das Coronavirus hat Louise Brooks nicht aufgehoben, nur aufgeschoben: Im Herbst kommt dann doch noch die Filmreihe zu dem schönen Plakat, das in Zürich prangt.
Mit ihrem Bob wurde Louise Brooks (1906–1985) zur Ikone der Roaring Twenties; als Schauspielerin war sie ihrer Zeit voraus. Hollywood setzte die ausgebildete Tänzerin ab 1925 vor allem in Komödien ein, aber Howard Hawks machte sie 1928 in A Girl in Every Port zum kühlen Vamp und William A. Wellman entdeckte in Beggars of Life Brooksʼ Fähigkeiten im ernsten Fach. Erst in Europa entstanden ihre legendärsten Filme: G. W. Pabst besetzte sie als verführerische Lulu in Die Büchse der Pandora (1928) und als unterdrückten Freigeist in Tagebuch einer Verlorenen (1929); in Prix de beauté (1930) von Augusto Genina spielte Brooks ihre letzte Hauptrolle und mit 32 Jahren beendete sie ihre Karriere."
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| A view inside the FilmPodium theatre |
Along with the above mentioned films, the retrospective is also set to include the surviving fragment of Now We're in the Air (1927), Its the Old Army Game (1926), The Show Off (1926), Love Em and Leave Em (1926), The Canary Murder Case (1929), God's Gift to Women (1931) and Overland Stage Raiders (1938). Also on the schedule is the outstanding documentary Louise Brooks: Looking for Lulu (1998), and the recent feature The Chaperone (2018), which will be having its Swiss premiere.
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| A view outside the FilmPodium theatre |
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