Monday, October 31, 2022

A Halloween post - an almost scary Louise Brooks

As most everyone agrees, Louise Brooks was a beautiful women. She was lovely, and it is hard to imagine a depiction of the actress which might depict her so poorly as to make her almost unrecognizable, even a bit "scary." And yet, there exists just such a depiction. As best I can tell, this poster dates from 1930, and comes from France. It is a poster for Loulou, the French title of Pandora's Box. The artist is Marcel Gaillard. (I couldn't find much else about him.)

The scene shown on the poster above comes from Pandora's Box, at the moment when Alwa places his head in the lap of Lulu. If one has seen the film, then one knows this scene. Yet, the poster artist has so clumsily rendered Brooks' face as to make her unappealing, almost "ugly - I am not sure what other word to use. This is, in my opinion, one of the worst depictions of Brooks, at least, one of the worst I have ever seen.

Another clumsy depiction of Brooks also comes from France. This one is by F. Gaboit, and it adorned a 1980 poster for Loulou issued by Connaissance duCinema (as shown below). Based on the famous Eugene R. Richee photographic portrait of Brooks, this illustration also falls short, especially in the way the artist has elongated the fingers which hold the strand of pearls. There is also something about the way Gaboit has rendered Brooks' face that doesn't appeal to me. I can't say what exactly, but that is the way I feel. Maybe it is because Richee's portrait is so perfect, and that this drawn illustration is so imperfect. I have seen another adaption of this poster art, and it is similarly lacking.

Gaboit was not a bad artist, it is just that I think the Loulou poster falls short. On the other hand, Gaboit's poster for Le Journal d'une fille perdue (the French title for Diary of a Lost Girl) is appealing and I think successful in capturing the lovely allure of Brooks.

The Louise Brooks Society blog is authored by Thomas Gladysz, Director of the Louise Brooks Society. ( Original contents copyright © 2022. Further unauthorized use prohibited.

Friday, October 28, 2022

Newly published Louise Brooks-inspired supernatural thriller, Pandora's Box, by Scott R. Howe

"Stare into the dark long enough and you'll eventually see what's hiding there." Just in time for Halloween, just in time for something new to read.... Longtime fan of Louise Brooks, Scott R. Howe, has published a supernatural thriller inspired by Louise Brooks. The 210 page book, which is available on amazon, is titled Pandora's Box

I haven't yet had the chance to read a copy of this new book, but I am looking forward to it. And, I must say, it has a great cover design!

The book description reads, "Emily has accepted a new position in Rochester, New York, having recently terminated a two-year romance with the man she expected to marry. While settling into her modest one-bedroom apartment, she has an eerie encounter with a striking little girl who looks as if from another era. Terrified, but curious, Emily uncovers that her apartment was once occupied by a previously famous silent film actress, who died in Emily’s bedroom in 1985. Emily is quickly pulled into a nightmare and forced to confront the fact that something malevolent is lurking within the apartment, something that knows of a secret Emily has carried since childhood, for it’s the same secret that forever altered the tragic life of her apartment’s former tenant: one of Hollywood’s most sensual and iconic silent film stars, Louise Brooks."

A little bit more about the author and his new book can be found on his website at

The Louise Brooks Society had the chance to ask the first time author a few questions about his new book. Here is what Scott had to say. 

LOUISE BROOKS SOCIETY: When and how did you first come across Louise Brooks?

SCOTT HOWE: My earliest recollection is that I had purchased a sort of coffee table book on early, silent-era film making in Hollywood. It was filled with images from the turn of the century, up through the 1920s. When I was flipping through the pages, I stopped at a photo of this woman I had never come across before. She was striking to me, initially, because her look didn't seem to match anyone else in the entire photobook; in my eyes, she was a complete anachronism. I was in my mid-twenties at the time (this was like 1985 or '86) and she just really stood out as being uniquely attractive, even by 1980s standards. That was enough to intrigue me and I was off on a quest to find out as much as I could about her. That was before the internet so I found myself driving to Berkeley to make use of their libraries, etc. It became a fun side-hobby to sort of try and sleuth out information about her throughout the years. 

LOUISE BROOKS SOCIETY: What is it about her that draws you?

SCOTT HOWE: I sort of answered this in the first question. At first, it was that she appeared out of place in her own time. She seemed completely modern to me. The first book I found was her own book, the compilation of some of her essays that had appeared previously in other journals, "Lulu In Hollywood." Her writing felt as if I was reading the thoughts of a young twenty-year-old girl. That made her even more attractive. It was almost like I was falling in love with this "young" woman, and I guess I ignored the fact that she had actually passed, perhaps only a year earlier. (I hope this is making sense). Later, I found the Kenneth Tynan article on her, "The Girl in the Black Helmet." It felt good to know that I wasn't the only one who found himself falling in love with her.

LOUISE BROOKS SOCIETY: You have written a paranormal historical thriller. What are some of your favorite books or authors in that field?

SCOTT HOWE: One of the earliest books on the paranormal that I read as a teen was The Amityville Horror. The idea that this series of events may have actually happened completely fascinated me. I remember asking my mom to take me to the library so I could look for news stories, on microfiche, from the time of the original Defeo family murders; since the book mentioned that George Lutz, who moved into the house shortly after the murders with his family, held a striking resemblance to Ronald Defeo Jr., the one who killed his entire family, I wanted to see, for myself, if they did have a similar appearance  — and they did. It was also around this time, in the mid-seventies, that my older brother brought back a souvenir book he'd bought for me, from his visit to Washington D.C.. It was called Ghosts: Washington's Most Famous Ghost Stories by John Alexander. Reading that book, as a kid, led to my love for history in general.

LOUISE BROOKS SOCIETY: Do other early film stars or early films interest you? Or the Jazz Age?

SCOTT HOWE: I grew up on the Our Gang/Little Rascals shorts and Laurel and Hardy. They were a Saturday morning staple here in Sacramento when I was growing up. I found myself strangely mesmerized by the music in those Hal Roach comedies. For years, I tried to find information on that music. Eventually, in the late eighties, while I was working as an artist at Tower Records, I was able to discover the music of Beau Hunks where they recreated all of that old music from the Hal Roach films. I knew of Chaplin too, but did not grow to truly appreciate his genius until I got into college and took some film history courses. It wasn't until later that I discovered Chaplin's connection with Louise. I was also excited to learn that Buster Keaton shot Steamboat Bill, Jr. here in Sacramento right along the river, near what is now West Sacramento.

LOUISE BROOKS SOCIETY: How was it that you had the idea to blend your two interests - gothic thrillers and a certain silent film star?

SCOTT HOWE: I'm not sure if you can relate, but I've felt for a long time that I had an itch that needed to be scratched when it came to Louise Brooks. In college, I began my interest in film making and in film history. After my daughter was grown, I took up film making again and had the ridiculous idea to try and make a short film about Louise. I failed miserably, of course. All the while, I kept hoping someone else would do something. Anything. I still hope that someone, someday, will finally produce a biopic about her. But I digress… Over the pandemic, I had to have quadruple bypass surgery. While recovering from that, I started thinking about coming up with an idea for a novel that might use Louise as a framework. Initially, it felt too daunting a task. After all, people way more qualified — people like you — have already written so much about her; what could I possibly add to that? But my mind kept coming back to something about Louise that had always affected me. It was the fact that she was sexually abused as a child. I found it both heart-wrenching and chilling that this had happened to her at all — and that it was as common, then, as it is today — seemed unthinkable. One could see how much it changed the trajectory of her life forever after that experience. Barry Paris wrote in his famous biography on her that Mr. Flowers was her "Rosebud." It finally hit me that one way I could talk about all of that was to couch it within a ghost story. Good ghost stories, after all, are just mysteries wrapped up in a nice, scary package. Writing scary short films was always in my wheelhouse, so why not try writing something longer-form and see if I could manage it. As it turned out, this was the spark I needed to finally scratch that Louise Brooks itch that I'd had ever since I first discovered her for myself. I think it's natural for creative people to get inspiration from their muses. Louise has been that for me. I've drawn her, painted her, tried to make a short film about her... and now, I've finally found a way to express some of my thoughts about something that truly hurt me when I first learned of Louise’s sexual abuse as a child.

LOUISE BROOKS SOCIETY: What might you want readers of your book to know?

SCOTT HOWE: I hope people will understand that I wrote this book with a deep admiration and affection for Louise Brooks. Those who have done their own research on Louise will no doubt recognize some familiar acknowledgements to her in the form of small factoids about her life that I sprinkled throughout this book. Finally, I hope that by delving deeper into the issue of sexual abuse, readers will gain a better understanding of the strength of will required to survive such trauma. I'm left to wonder how much more Louise would have achieved had she not had to carry such a burden with her over her lifetime.
I have to apologize for my lengthy responses. Once I get going, I can't stop. :)

The author and his inspiration


The Louise Brooks Society blog is authored by Thomas Gladysz, Director of the Louise Brooks Society. ( Original contents copyright © 2022. Further unauthorized use prohibited.

Wednesday, October 26, 2022

The Unlikely Louise Brooks, number 2 in an occasional series

This post is the second in an occasional series focusing on unusual finds, unusual material, and unusual connections all related to Louise Brooks - even if only tangentially. I run across these sorts of things regularly... and this a way to share them with my few readers. My first post in this series can be found HERE.

"Remarkable Remarks" was published in Billboard magazine in September, 1925. It featured brief quotes from celebrated Broadway personalities of the time. Included among them in this selection is relative newcomer Louise Brooks, at the beginning of her career as a film actress! (Brooks had recently left the Ziegfeld Follies and was now entering films; she had already completed work on The Street of Forgotten Men - in an uncredited bit part, and was now starting work on The American Venus - her first role with a on-screen credit.)

Louise Brooks is quoted as saying, "True art instincts lead one up the right alley." To me, alley, with its lesser connotations, is a fascinating word choice. Had Brooks used the word boulevard, that would suggest "true art instincts," or pure, or beautiful, or righteous intentions would lead to unqualified success, since boulevards connote greatness of grandeur. But, Brooks said "alley," which suggests a somewhat lesser destination -- a pessimistic outlook, as in now matter how good or true you are, you will likely end up in a mere alley. Brooks' quote reminds me of something Oscar Wilde once said, "We are all in the gutter, but some of us are looking at the stars."

Louise Brooks is in interesting company.

Leo Carillo was an American actor, vaudevillian, political cartoonist, and conservationist. He was best known for playing Pancho in the television series The Cisco Kid (1950–1956) and in several films.  Carrillo worked as a newspaper cartoonist for the San Francisco Examiner, then turned to acting on Broadway. 

Berta Donn was a stage and film actress whose first credits date back to the 1910s.

George Arliss (born 1868) was an English actor, author, playwright, and filmmaker who found success in the United States. He was the first British actor to win an Academy Award – which he won for his performance as Victorian-era British prime minister Benjamin Disraeli in Disraeli (1929) – as well as the earliest-born actor to win the honour. He specialized in successful biopics, such as Disraeli, Voltaire (1933), and Cardinal Richelieu (1935), as well as light comedies, which included The Millionaire (1931) and A Successful Calamity (1932).

Arthur Hopkins was a well-known Broadway theater director and producer in the early twentieth century. Between 1912 and 1948, he produced and staged more than 80 plays – an average of more than two per year – occasionally writing and directing as well. His repertoire included plays by playwrights in American Expressionist theater, including Elmer Rice, Sophie Treadwell, and Eugene O'Neill.

This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society ( Original contents copyright © 2022. Further use prohibited.


Louise Brooks, circa 1925

Sunday, October 23, 2022

Louise Brooks and Rudolph Valentino, a talk from 2019

Every year since 1927, fans of the Rudolph Valentino have gathered to honor the actor's memory in Hollywood. In fact, the Valentino Memorial Service, held each year on August 23rd (beginning at 12:10 p.m., the time of Valentino's death in 1926), is the longest running annual event in Hollywood, even pre-dating the Academy Awards. I have attended a few of these events in the past, as opportunity allowed. Each included a talk, songs, historical perspective, and custom videos. Each was a memorable occasion. 

Back in 2019, I was asked to give the keynote address at the 92 annual event. During my brief, ten minute presentation, I gave an illustrated talk and shared some rare material on the subject of Louise Brooks and Rudolph Valentino. The title of my talk was "Through the Black Velvet Curtain: Louise Brooks and Rudolph Valentino," with its subject being the two iconic silent film stars. My talk asks . . . might these two Jazz Age personalities have known each other? Might they have met? Over the years, various documents have come to light which go a long way toward answering those questions. While we will likely never know what Valentino thought of Brooks, we do know what Brooks thought of Valentino.

Just recently, the original video tapes of every Valentino Memorial Service going back to 1996 have been professionally digitized and are now being presented exclusively on the WeNeverForget Youtube channel. I would encourage everyone to check out not only my 2019 appearance (which starts about 34 minutes into the event), but others as well. Each of the videos is fascinating material for anyone interested in silent film.

 This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society ( Original contents copyright © 2022. Further use prohibited.

Friday, October 21, 2022

Diary of a Lost Girl starring Louise Brooks screens Sunday in Washington DC

The sensational 1929 Louise Brooks film, Diary of a Lost Girl, will be shown this Sunday, October 23, at the Atlas Performing Center in Washington D.C. More information about this event, which will feature live musical accompaniment by pianist Andrew Earle Simpson, can be found HERE

As well, this and other silent film screenings the Atlas Performing Center featuring Simpson will include a pre-show intro and a post-show discussion with Andrew Earle Simpson.

As the webpage for the event puts it, quoting your's truly, who then quotes Kevin Brownlow, "The second and final collaboration of actress Louise Brooks and director G.W. Pabst (Pandora’s Box), Diary of a Lost Girl is a provocative adaptation of Margarethe Böhme’s notorious novel, in which the naive daughter of a middle-class pharmacist is seduced by her father’s assistant, only to be disowned and sent to a repressive home for wayward girls. She escapes, searches for her child, and ends up in a high-class brothel, only to turn the tables on the society which had abused her. It’s another tour-de-force performance by Brooks, whom silent film historian Kevin Brownlow calls an “actress of brilliance, a luminescent personality and a beauty unparalleled in screen history.” – Thomas Gladysz

This event also received a short write-up in the Washington City Paper, in which Pat Padua insightfully commented, "Her second film with German director G. W. Pabst, the 1929 silent drama Diary of Lost Girl features one of her most vivid performances—those 1920s eyes seeming to cast knowing looks at the following century.... While her character endures all manner of tragedy... Brooks remains a model of strength and compassion in a world where, as one character tells her, 'all are lost'."

Tickets to this afternoon screening are $25.00, and are available through the above mentioned link. The Atlas Performing Arts Center is located at 1333 H St NE Washington, DC 20002.

Incidentally, the event description which quotes me comes from the liner notes to the must-have Kino Lorber DVD, for which I provided the audio commentary. My commnentary was in turn based on my 2010 Louise Brooks edition of Margarete Bohme's book, The Diary of a Lost Girl, which I edited and wrote the introduction to. Bohme's book is something of a forgotten classic of German literature, highly controversial, and one of the bestselling books of its time. Every Louise Brooks fan will want to own the DVD and read the book. 

Both the Kino Classics DVD / Blu-ray and my book are available through around the world. 

Diary of a Lost Girl DVD / Blu-ray BUY HERE

The Diary of a Lost Girl book (Louise Brooks edition) BUY HERE

This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society ( Original contents copyright © 2022. Further use prohibited.

Monday, October 17, 2022

Something of a Mystery: Religious Interest in a Louise Brooks Silent Film

As readers of this blog likely know, I am working on a book titled The Street of Forgotten Men: From Story to Screen and Beyond. It is coming along well. I have some 60,000 words completed scattered across some 270 pages - the book will be heavily illustrated. I also have a draft cover, which is shown below.

In the course of my research I have come across something of a mystery, that is, religious interest in The Street of Forgotten Men. I suppose it makes sense in a way, as the Herbert Brenon film has as themes the notions of self-sacrifice and redemption. But I wonder, were other films, besides Cecil B. de Mille's The Ten Commandments, subject to similar interest? 

In the course of my research I have found that the Herbert Brenon film was shown in churches on a few occasions; it was also the inspiration for sermons, and most perplexing of all, there were stereopticon slides reportedly illustrating scenes from the film which churches could get a hold of and show as a visual aid while a pastor delivered a related lecture. Who made these slides? Where did they come from? And what's more, a few weeks before the film's debut at the Rivoli theater in Nedw York City, director Herbert Brenon gave something of a sneak peak look at the film inside a church!

Might anyone know anything more about this sort of thing - churches showing films? And might anyone know anything more about the source and nature of the illustrated slides shown in churches, which turn out to be mostly Congregational. (I had an email exchange with an historian of the Congregational church. But he too was stumped.)

What follows is an excerpt from my forthcoming book, which may provide some additional context with which to some this minor mystery. Any and all help would be greatly appreciated.  My email address is LouiseBrooksSociety {at} gmailDOTcom


Though The Street of Forgotten Men debuted at the Rivoli theater on July 19, 1925 that may not have been the first time the public got a look at the film, or parts of it. A few weeks prior to its debut, the film was the focus of an event at the Chelsea Methodist Episcopal Church in New York City. Newspaper descriptions of this June 28 event vary. According to a piece published in the New York Herald Tribune, “Scenes from the new picture, The Street of Forgotten Men, will be shown at the night service to-morrow.” The next day, the New York Times ran a somewhat different bit which stated, “Herbert Brenon, a director of motion pictures with the Paramount Picture Corporation, will describe a new picture, The Street of Forgotten Men, this evening at the ‘Happy Sunday Evening’ service.”

The Church that hosted the event was headed by the Reverend Dr. Christian F. Reisner, a well-known preacher sometimes described as “colorful.” Reisner was an exponent of so-called new methods, and believed in showmanship when it came to preaching. After the first World War, he penned a syndicated article which stated religion should take pointers from the theater, suggesting the ablest sermons may be staged behind the footlights. He also authored books with titles like The Church as a Social Center and Church Publicity: the modern way to compel them to come in. A few weeks prior to the June 28 event, Reisner was the subject of some press attention when he proposed building a skyscraper dedicated to Christianity which was to be known as the Broadway temple. 

Given the subject of The Street of Forgotten Men, the June 28 event may have served as a lure to bring in donations toward Reisner’s ambitious building plans – which included housing and services for the poor. Whatever its intention, there is little known about the event itself. Either Brenon gave a short talk in which he described his “new picture,” or the director spoke and an unknown number of scenes from the film were shown. In either case, Brenon was on hand to introduce the film in what might amount to a kind of “sneak-peak.” Curiously, at the same event, Reisner also gave a short talk titled “Motion Picture Dangers.”

A few months later, the film was the focus of another event which occurred at the Lewis Avenue Congregational Church in Brooklyn. On October 18, the Rev. Allison Ray Heaps gave a “sermon lecture on The Street of Forgotten Men.” (Brenon was not known to have attended this event.) A brief article in the Brooklyn Daily Eagle stated, “Lantern slides from the motion picture will be used to illustrate this story of the old Bowery life.” The Chat, another Brooklyn paper, also carried a piece on the Lewis Avenue sermon. In it, the local paper gave a description of the film which suggests what the various churches which put on similar events may have seen in Brenon’s production. “Sunday, evening 8 p.m., The Street of Forgotten Men. This is the story of a man living in the old Bowery of New York City who by a combination of the virtue of self-sacrifice and the spirit of unselfishness was able to rise into newness of life, realize an ideal, and render a service to his fellowmen. Percy Marmont impersonates the ‘forgotten man.’ The slides are from the motion picture production.” Notably, this event, which incorporated a slide show of unknown origin, took place during a week in which the film was showing in Brooklyn at four second run theaters, the Peerless, Ablemarie, Farragut, and Eden Movies.

The event at the Lewis Avenue Congregational Church was in all likelihood repeated a few weeks later, though at a different venue. On November 7, Universalist pastor Thomas Edward Potterton, D.D. gave an illustrated lecture on The Street of Forgotten Men at the Church of Our Father. (The following week, the two churches once more shared sermons and slide shows. On November 14, each presented a “colored lantern slide” retelling of Channing Pollock’s play, The Enemy.)

Church interest in The Street of Forgotten Men wasn’t limited to New York City or Brooklyn. Nor was it restricted to a lantern slide-sermon format. In fact, interest extended to the West Coast, and sometimes included either a straight-forward sermon or a screening of the actual film.

According to a short write-up in the Los Angeles Times, a well-known local pastor, Dr. G. A. Briegleb, was scheduled to deliver an evening sermon on “The Gold Rush and the Street of Forgotten Men” at the Westlake Presbyterian Church in Los Angeles. Like Reverend Reisner of New York, Briegleb seemed to be a proponent of employing new methods in spreading the word. He also spoke on off-beat topics which hinged on the premise "what would Jesus do," as in what would Jesus do if he was on the city council, or owned a newspaper. The prelude sermon set to take place ahead of his October 10, 1925 sermon tied to “The Gold Rush and the Street of Forgotten Men” was "What Would Jesus Do if After Marriage He Discovered That He Was Wedded to the Wrong Woman?" 

A year later, another preacher and another church made use of the film. The Los Angeles Times reported “The motion picture The Street of Forgotten Men, and an address by Dr. James Lash will feature [at] the services tomorrow evening at the Hollywood Congregational Church. Salvador Baguez will be the soloist.” [Might Baguez also have accompanied the film? It is not known if these and other church screenings were silent, or featured musical accompaniment.]

An earlier screening of The Street of Forgotten Men inside a church took place in New Britain, Connecticut. The film itself had shown in New Britain in October, 1925 at the local Palace theater. Some six months later, it returned to town, where it was shown on a Sunday evening at the city’s historic South Church, then a Congregational denomination. A newspaper advertisement for the April 25, 1926 event billed the film as “A Picture of Unusual Human Interest.”

One of the last documented screenings of The Street of Forgotten Men in the United States also took place in a church. The Central Congregational Church in Atlanta, Georgia, whose services were headed by Witherspoon Dodge and described as “cheerful and refreshing,” occasionally showed films on Sunday evenings under the banner of “Religious Movies” or “Free Motion Pictures.” In 1928, the year the Atlanta church screened The Street of Forgotten Men, it also screened other popular pictures such as the Milton Stills, Doris Kenyon feature Men of Steel (1926), Reginald Deny’s Fast and Furious (1927), Raoul Walsh’s The Wanderer (1925), and the Merian C. Cooper and Ernest B. Schoedsack adventure film Chang (1927). On April 29, the church screened The Street of Forgotten Men, believing, perhaps, its theme of self-sacrifice an uplifting one – or perhaps, the church simply hoped to draw new congregants by providing what it thought was wholesome entertainment. 

Generally speaking, most churches didn’t advertise their Sunday services in their local newspaper, so it is difficult to know just how many other churches either screened The Street of Forgotten Men, or made use of some form of the related, illustrated sermon / lecture. 

However, a few did advertise their church services, and in doing so, created a paper trail of sorts. The Street of Forgotten Men was the subject of Dr. J.R. Macartney’s Sunday morning sermon at the First Presbyterian church in Waterloo, Iowa on May 15, 1927. The North Congregational Church in Portsmouth, New Hampshire presented the film story, “illustrated by stereopticon,” on April 22, 1928, with this presentation being preceded by an organ recital. The Street of Forgotten Men was also the subject of an evening sermon at St. Paul’s Evangelical Lutheran Church in Camden, New Jersey on September 16, 1928. And on April 28, 1929, a stereopticon lecture of The Street of Forgotten Men was given at the Congregational Church in Burlington, Vermont. 

In some communities, local newspapers published the text of sermons given at local churches. On October 28, 1929 the Rev. Walter Krumwiede gave a sermon at the Grace Lutheran Church in Rochester, New York which referenced the film, stating “Yet we know that there stretches through life a terrible highway called The Street of Forgotten Men, where countless numbers of defeated and enslaved men and women go, with weakness in their bodies, darkness in their mind, and terror in their soul.” This reference to the film within a sermon is among the early usages of the film's title as a colloquialism.

One last documented reference to the film occurred on January 24, 1934, when the Rev. C. H. Bloom, an evangelical, spoke on the subject of The Street of Forgotten Men at the Church of Christ in Sayre, Pennsylvania. As with these few others, his sermon received a short write-up in the local paper. Remarkably, this sermon took place nine years after the film was released, and some six years after its last documented screening in the United States.

This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society ( Original contents copyright © 2022. Further use prohibited, especially by aggregators.

Wednesday, October 12, 2022

Loulou opens Synchro film music festival at Cinémathèque de Toulouse

The 1929 Louise Brooks film, Loulou (otherwise known as Pandora's Box) will open the Cinémathèque de Toulouse Synchro, a film music festival running from November 30 to December 4. More information HERE.

Louise Brooks not only opens the new festival, she also adorns its inaugural poster. With Synchro, the Cinémathèque de Toulouse hopes to establish a week long series of cinema concert events which not only celebrate the silent era but also give it a beat. Each film concert will feature an original score ranging from classical to jazz through rock and electronic music, "introducing the widest possible audience to films from a new angle and giving them unique experiences with musicians who will play live, sometimes in unexpected places."

Approximately 30 film concerts are set to take place during this first event. Among them are these three highlights: 

Cinema icon Louise Brooks will light up the opening of SYNCHRO, with Loulou (1929) by George Wilhelm Pabst. This German cinematic masterpiece will be accompanied by two composers who specialize in accompaniment to silent films who have appeared in many festivals around the world: Dutch pianist Maud Nielsen and Portuguese bassist Eduardo Raun. - Wednesday, November 30 at the Cinémathèque de Toulouse.

A monument in the history of cinema included at SYNCHRO, The Man with a Camera filmed and directed in Odessa, Ukraine in 1929 by Soviet director Dziga Vertov. This documentary, famous for its exceptional editing, will be accompanied by a composition by Pierre Henri, the founding father of electro-acoustic music. Ole acousmonium and Maylis Raynal will provide the electroacoustic broadcast. - Thursday, December 1 at Cinémathèque de Toulouse.

Considered one of the best films ever made, The Gold Rush (1925) by Charlie Chaplin will be accompanied by the Orchester National du Capitole de Toulouse, led by Timothy Brock. This American composer, musician, and specialist in restoring silent film soundtracks has been working since 1999 to restore the Chaplin family’s musical scores. - Friday 25 and Sunday 27 December in Halle aux Grains (Toulouse), Saturday 26 December in Aria (Cornebarrieu).

More information and reservations:

This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society ( Original contents copyright © 2022. Further use prohibited.

Saturday, October 8, 2022

Even more Louise Brooks and even more Louise Brooks Society

For a number of years now, the Louise Brooks Society has been a member of the CMBA (Classic Movie Blog Association). And for a number of years, the CMBA has run an annual blogathon in which members blog on a topic or theme. This year's blogathon, with the theme "Movies are Murder," is set to take place November 7th through November 11th. The Louise Brooks Society blog will join in, with a post or two on the 1929 film, The Canary Murder Case. Be sure and stay tuned.

Speaking of The Canary Murder Case.... of late, the Louise Brooks Society Instagram page has been posting images from that celebrated film. Many of these images have received hundreds of likes, and the relatively new LBS Instagram page has gathered more than 4,400 followers. Wowza! Check it out - and be sure and follow the Louise Brooks Society on Instagram

Looking for more Louise Brooks and silent film news? Be sure and follow the Louise Brooks Society on Twitter. More than 5,200 others do so. Check it out - and be sure and follow the Louise Brooks Society on Twitter

Links to the various LBS social media accounts can be found on the LBS Linktree at

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