A Social Celebrity, starring Louise Brooks, was released on this day in 1926

A Social Celebrity, starring Louise Brooks, was released on this day in 1926. The film is a romantic comedy about a small town barber who follows his heart and heads to the big city where he hopes to join high society. Louise Brooks plays the barber’s love interest, a small town manicurist who also heads to the big city to become a dancer. The film is the third in which Brooks appeared, the second for which she received a screen credit, and the first in which she had a starring role. More about the film can be found on the Louise Brooks Society filmography page.

The film was originally set to star Greta Nissen, a Norwegian-born dancer. When she quit the film early in its production, Brooks’ part was rewritten and she took on the role of the female lead. It was a huge break for the 19 year old Brooks and a turning point in her career, as the barber, played by Adolphe Menjou, was one of the biggest stars of the time. In reviewing the film, many critics took special note of Brooks, and thereafter she was regarded as a rising star and someone to watch.

The critic for Exhibitor’s Herald noticed the actress. “Louise Brooks is the third person in the cast. This odd young person who worked with Ford Sterling in that screaming interlude of The American Venus is a positive quantity. She may become a sensational success or a sensational flop, but she is not the kind of player who simply goes along. She’s a manicure girl in this one, later a night club dancer, and she’s unfailingly colorful. I have a personal wager with another member of the staff that she goes up instead of down, both of us agreeing that she’s a moving personality but differing as to direction.” Mae Tinee of the Chicago Tribune also noticed the actress, “Louise Brooks, who plays the small town sweetheart who want to make a peacock out of her razor-bill, is a delightful young person with a lovely, direct gaze, an engaging seriousness, and a sudden, flashing smile that is disarming and winsome. A slim and lissome child, with personality and talent.”

The critic for the Boston Evening Transcript echoed those comments. “In this instance the manicure is no less provocative a morsel than Miss Louise Brooks, remembered for her bit in that specious puff-pastry, The American Venus. Miss Brooks has anything but a rewarding task in A Social Celebrity. Yet it would be ungracious not to comment on the fetching qualities of her screen presence. She affects a straight-line bang across the forehead with distressingly piquant cow-licks over either ear. Her eyes are quick, dark, lustrous. Her nose and mouth share a suspicion of gaminerie. Her gestures are deft and alert — perhaps still a shade self-conscious. In body she is more supple than facial play and her genuflectory exertions in the Charleston might well repay the careful study of amateurs in that delicate exercise.”

A Social Celebrity received many positive reviews, though a few critics thought it too similar to Menjou’s earlier efforts. At it’s New York City premiere, the film proved popular at the 2000 seat Rivoli theater, where it brought it nearly $30,000 during its one week run. (This was at a time when most tickets would have been priced at less than a dollar.) The film critic for the Brooklyn Daily Eagle reported the line for tickets “began at the ticket office and extended to a spot somewhere in the middle of 7th Ave. and 49th St.”

Under its American title, documented screenings of the film took place in Australia (including Tasmania), Bermuda, British Malaysia (Singapore), Canada, China, Hong Kong, Ireland, Jamaica, Japan, New Zealand, Panama, Papua New Guinea, South Africa, Trinidad, and the United Kingdom (England, Isle of Man, Northern Ireland,  Scotland, and Wales). The film was also promoted under the title The Social Celebrity (China & India), and A Sociál Celebrity (Czechoslovakia). In the United States, the film was reviewed as Una Celebridad Social (Spanish-language press).

Elsewhere, A Social Celebrity was shown under the title Au suivant de ces messieurs (Algeria); Figaro en sociedad (Argentina); Der Bubikopfkünstler (Austria); Au suivant de ces Messieurs (Belgium, French) and Aan de Volgende Dezer Heeren (Belgium, Dutch); Desfrutando a alta sociedade (Brazil); Figaro en sociedad (Chile); Un Figaro de Sociedad (Cuba); Sociální osobnost (Czechoslovakia); I laante fjer and Storfyrstinden og hendes kammertjener (Denmark); Au suivant de ces messieurs (Egypt); Parturi frakissa and Frakkipukuinen parturi and Barberaren i frack  (Finland); Au suivant de ces messieurs (France); A Szalon Figáró (Hungary); Un barbiere di qualità (Italy); 三日伯爵 (Japan); Der Liebling der Gesellschaft (Latvia); Der Schaum-Cavalier (Luxembourg); Figaro en sociedad (Mexico); De Dameskapper (Netherlands); Shingle-eksperten (Norway); Disfrutando a Alta Societade (Portugal); Figaro en sociedad (Spain); En Sparv i tranedans (Sweden); Au suivant de ces messieurs (Switzerland); and Au suivant de ces messieurs (French Indochina / present day Vietnam).

SOME THINGS ABOUT THE FILM YOU MAY NOT KNOW:

— Early on, Paramount promised the up-and-coming Nissen equal billing with Menjou in A Social Celebrity. However, “The temperamental Greta insisted on arriving at the studio one hour late every day,” according to the Brooklyn Norgesposten. Menjou, a major star, was forced to wait for the young actress and complained to director St. Clair. Soon enough, Nissen quit and returned to Broadway to resume her career as a dancer. (The friction caused by Nissen’s departure didn’t seem to spoil a budding romance between the dancer and director — at least not in the short-term. The Brooklyn Norgesposten reported that the couple were frequenting New York’s artists’ clubs. And in early May a Broadway gossip columnist hinted that Nissen might wed the Paramount director.)

— Early scenes set in were actually shot on Long Island in the village of . The exterior of Spontowiz’s Barber Shop on Main Street, the local trolley line — the Delphi, Indiana, and other aspects of the historic Long Island community were featured in the film. (According to press reports from the time, the film’s director and star spent the better part of two weeks touring Long Island looking for a stand-in for Delphi.)

— To lend verisimilitude, Fred Graff, hairdresser and barber-in-chief at the Paramount Long Island studios, was cast in the film. He can be seen “manipulating the sheers” in scenes shot at the Terminal Barber Shop (located at Broadway and Forty-second Street) in Manhattan.

— Also appearing in a bit part was Agnes Griffith, who won a contest sponsored by Famous Players Lasky and the New York Daily News. This was the first film role for Griffith, a diminutive brunette with a short bob. She later appeared in New York (1927).

— While A Social Celebrity was playing at the Rivoli, Menjou appeared on WGBS, the Gimbel Brothers radio station in NYC. According to newspaper reports, Menjou spoke about the film and the scenes shot locally on Long Island. (If he were to have mentioned his co-star, this broadcast would likely mark the first time Brooks name was mentioned on the radio.)

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2023. Further unauthorized use prohibited.

Update on the Attacks on the Louise Brooks Society

As some may know, the Louise Brooks Society is under attack. Last week, the Louise Brooks Society Facebook page was suspended for 3 days due to a bogus report of trademark infringement filed by Michael Garcia Mujica, doing business as "Vintage Brooks". The image which Mujica claims violated his 2019 trademark (on the name "Louise Brooks") was one I have been using for decades. It is shown below. 

Hours after the Louise Brooks Society Facebook page was suspended, my personal Facebook page, under my name, Thomas Gladysz, was disabled, no doubt because of another fraudulent claim by you know who. Will this troll never stop? 

Since I use my personal account to access Facebook and run my Louise Brooks Society page, I am now effectively locked out of Facebook all together. I can no longer communicate with my family and friends, and with those whom I have met over the internet through a shared interest in Louise Brooks.

Later that day, or was it the next day (it all seems like a long ago nightmare), the Louise Brooks Society Twitter accounts was also permanently disabled. Actually, this is the second LBS Twitter account to be destroyed by a fraudulent claim of trademark infringement filed by Michael Garcia Mujica (dba Vintage Brooks). And just today, my personal Twitter account was also disabled.

I had been on Twitter since 2009. And, I had been on Facebook since 2010. That is more than 13 years of lost contacts and connections (numbering in the thousands), and more than 13 of lost good will and brand development. I don't know the number of times I tweeted, but it was likely thousands of times. The same with Facebook where I posted thousands of times. That is a lot of lost history as well.

I have filed appeals with each of these platforms, but each has failed to respond to my appeals. With Twitter and Meta (Facebook and Instagram) in such disarray, it is not surprising.

For the record: The Louise Brooks Society™ website was established online in 1995. Its website and the wordmark “Louise Brooks Society” are under copyright and common law trademark protection. Additionally, the Louise Brooks Society operates with the written consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. "Vintage Brooks" does not.

I  would also like to say that I greatly appreciate the emails of support I have received from my online friends. It looks like I will have to do without Twitter and Facebook for the foreseeable future. If you need to reach me, please note the email address in the image below. (The image, depicting MY business card, was taken down from Instagram because of another nuisance complaint from you know who.) His behavior is contemptible, and really rather pathetic.

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society (www.pandorasbox.com). Original contents copyright © 2023. Further unauthorized use prohibited.

Pandora's Box, with Louise Brooks as Lulu, to screen in Pudsey

Pandora's Box, the 1929 silent screen classic starring Louise Brooks as Lulu, will be shown in Pudsey, a town located in northern England (between Bradford and Leeds). This special screening, sponsored by the Yorkshire Silent Film Festival with live musical accompaniment by the Frame Ensemble, will take place on April 20, 2023. More information on this event can be found HERE.

 Here is a bit more information on the event from the event webpage.

G.W. Pabst’s 1929 silent movie masterpiece Pandora’s Box stars Louise Brooks in the role which ensured her a place in the Pantheon of immortal goddesses of the silver screen. This controversial, and in its day heavily censored, movie is still listed in the UK Guardian Newspaper’s top 100 films. It is a two-hour emotional roller coaster ride through the loves – male and female – of Lulu, a high class courtesan and dancer, and the trail of devastation she blazes through 1920s Berlin society, to exile in a Parisian gambling den, and abject poverty and violent death in a fogbound London.

The Music

Frame Ensemble, a quartet of Northern musicians specialising in improvised silent film accompaniments, will improvise a live score. Frame Ensemble is Irine Røsnes (violin), Liz Hanks (cello), Trevor Bartlett (percussion), and Jonny Best (piano).

 

To learn more about Pandora's Box, please visit the Louise Brooks Society website filmography page. 

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society (www.pandorasbox.com). Original contents copyright © 2023. Further unauthorized use prohibited.

Louise Brooks Society under attack again

Just so everyone knows, my Louise Brooks Society Facebook account has been suspended for 3 days due to a bogus report of trademark infringement filed by the internet troll Michael Garcia Mujica, doing business as "Vintage Brooks". My apologies to 5000+ followers, but this troll seemingly doesn't have anything better to do than harass the Louise Brooks Society. What a loser.

The two items on Facebook which were reported were a link to the March 4th Louise Brooks Society blog reporting on the forthcoming publication of a graphic novel about the actress, Dark Star: Louise Brooks in Berlin.  Also reported for trademark violation was my Louise Brooks Society logo, which is shown below. "Vintage Brooks" has no legitimate or lawful claim to either of these items. He does not own each and every use of Brooks name. His claims of trademark infringement is nothing more than harassment.

 

Today, as well, the re-established Louise Brooks Society Instagram account was also taken down following yet another allegation by Vintage Brooks of trademark infringement. Again, this is bull shit. Last week, two images on my LBS Instagram account were also taken down following a fraudulent claim of trademark infringement. One of images picture an old pinback button showing the image above. The other image which was removed was  an image of my Louise Brooks Society business card. BTW: I had to reestablish the Louise Brooks Society Instagram account after it was taken down once before.

A few weeks ago, the Louise Brooks Society Twitter account was also shut down following a complaint by Vintage Brooks. The Louise Brooks Society has been on Twitter since 2009, and it had gained more than 5000 followers. 

Of course, I have filed appeals with each of these platforms, but each has failed to respond to my appeals. With Twitter and Meta (Facebook and Instagram) in such disarray, it is not surprising. The only good spin on this situation is that Vintage Brooks actions are helping build a legal case and financial liability against himself.

For the record: The Louise Brooks Society™ website was established online in 1995. Its website and the wordmark “Louise Brooks Society” are under copyright and common law trademark protection. Additionally, the Louise Brooks Society operates with the written consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. "Vintage Brooks" does not.

UPDATE 3/23/2023: Today, the second incarnation of the Louise Brooks Society Twitter account was permanently suspended. No doubt, it was taken down after a complaint by Vintage Brooks. I don't know for sure, as the account was taken down without any explanation.

Evening Clothes, starring Louise Brooks, was released on this day in 1927

Evening Clothes, starring Louise Brooks, was released on this day in 1927. The film is a romantic comedy about a gentleman farmer who — spurned by his bride, goes to the big city to loose his rustic ways and win back his new wife. A stanza printed in advertisements for the film put it this way, “He was a French hick / Who didn’t please her / So he went to Paris and / Became a Boulevardier.” Louise Brooks plays a character called Fox Trot, a hot-to-trot Parisian who some described as a lady of the evening. More about the film can be found on the Louise Brooks Society filmography page.

Adolphe Menjou, Louise Brooks, and Noah Beery Sr.

The making of the film coincided with Paramount’s transition from its East Coast facilities to the West Coast. Evening Clothes was the first film Brooks made in Hollywood, and at Paramount’s suggestion, the first in which she did not wear her signature bob hairstyle.

Evening Clothes was made to order for its star, Adolphe Menjou. And as with his similarly-themed prior films A Social Celebrity, Ace of Cads, The Sorrows of Satan, and Blonde or Brunette — Evening Clothes proved popular with moviegoers, though less so with critics. The New York Daily News stated “There are a couple of really subtle spots, however, which brighten up the film tremendously, raising it right out of the mediocre class,” while adding “Louise Brooks is a perfect knockout as a good-natured lady of the evening.” The New York Morning Telegraph quipped, ” . . . as it stands, this latest Menjou vehicle offers entertainment value equivalent to the Paramount admission charge.” Other New York papers were more positive. The New York Telegram called the film “a delightful little comedy,” while the New York Journal described it as “an entertaining comedy, with some good situations.” All-in-all, the film received a cool critical response, though it performed very well at the box office.

Thin story-line aside, many reviewers focused on the actors as well as Brooks’ new hairstyle. Among them was Regina Cannon of the New York American, “Louise Brooks is again cast as a ‘lady of the evening’ and makes her role pert and amusing. You won’t recognize Miss Brooks at first, for she is wearing her hair curled over her head. This is too bad, for it makes her look just like a thousand other attractive girls. Louise achieved distinction with her straight-banged bob.”

Louella Parsons of the Los Angeles Examiner added, “When you see the show girl, Louise Brooks, cavorting about with a frizzled top you will see why Famous Players Lasky is grooming her for bigger and better things. She fares much better than either Miss Tashman or Mr. Beery, who only appear at long intervals.” Welford Beaton of Film Spectator echoed Parson’s remarks, “There are three girls who do very well in Evening Clothes — Virginia Valli, Louise Brooks and Lilyan Tashman. . . . I was glad to see further evidence of Paramount’s dawning consciousness that Louise Brooks is not composed solely of legs. They work her from the knees up in this picture and it begins to look as if she were headed for a high place.”

Herbert Cruikshank, who wasn’t enthused about the film, nevertheless liked Brooks. He wrote in the New York Morning Telegraph, “It seems to me that Louise Brooks deserves first place. She is charmingly piquant as a chic little gold-digger who turns out to be a pretty good fellow after all — as many of the maligned sisterhood do. While her part is merely a filler, she seems to have built it up materially, and holds center stage in whatever scenes she has.”

And front-and-center is where Brooks’ next film placed her. Rolled Stockings — which featured Brooks in the lead — went into production just as Evening Clothes was opening around the United States.

Under its American title, documented screenings of the film took place in Australia, British Malaysia (Singapore), Canada*, China, Hong Kong, India, Jamaica, Japan, New Zealand, Panama, Papua New Guinea, South Africa, and the United Kingdom (England, Isle of Man, Northern Ireland, Scotland, and Wales). In the United States, the film was also presented under the title El Traje de Etiqueta (Spanish-language press) and Roupas Noturnas (Portuguese-language press).

Elsewhere, Evening Clothes was shown under the title Un Homme en Habit (Algeria); El hombre del frac (Argentina); Eine Pariser ehe (Austria); Un homme en habit (Belgium, French) and Een Man in Habijt and Een Man in een Habijt (Belgium, Dutch); De Casaca e Luva Branca (Brazil); Las que no aman (Chile); El traje de etiqueta (Costa Rica); El Traje de Etiqueta (Cuba); Vecerní odev and Muž ve Fraku (Czechoslovakia); Ein Frack Ein Claque Ein Madel (Danzig); I kjole og hvidt (Denmark); In Rok (Dutch East Indies); El Marques de la Moda (Dominican Republic); Un Homme en Habit (Egypt); Mõistueaubielu and Mõistueaubielu abielu and Vernunftehe (Estonia); Frakkipukuinen herra and Parisin yökahviloissa (Finland); Un Homme en Habit (France); Ein Frack ein Claque ein Mädel (Germany); Estélyruha and Frakk És Klakk (Hungary); Il signore della notte and Signore della notte (Italy); 夜会服 or Yakai-fuku (Japan); Aprehķina laulības and Der Liebling der Gesellschaft (Latvia); Un Homme en Habit – Ein Frack, Ein Claque, Ein Madel! (Luxembourg); El traje de etiqueta (Mexico); In Rok (The Netherlands**); I Kjole og Hvitt (Norway); Szkoła Paryska (Poland); De Casaca e Luva Branca (Portugal); El Traje de etiqueta and El vestido de etiqueta and Vestido de etiqueta (Spain); En herre i frack (Sweden); L’homme en habit and Un homme en habit (Switzerland); and Un Homme en Habit (Vietnam).

* The film was banned in Quebec, Canada because of “concubinage” – the suggestion of interpersonal or sexual relationship between a man and a woman in which the couple are not or cannot be married.

** When the film was shown in The Netherlands in 1929, a cut was made to the film and screenings were restricted to those 18 and over.

SOME THINGS ABOUT THE FILM YOU MAY NOT KNOW:

—  Evening Clothes is based on a French play L’homme en habit by Andre Picard and Yves Mirande which debuted in Paris on March 25, 1920. The Man in Evening Clothes, an English-language version of the play translated by the noted actress Ruth Chatterton, had a brief Broadway run at the Henry Miller Theatre beginning on December 5, 1924.

—  Evening Clothes had its world premiere at the Metropolitan theater in Los Angeles, California on March 4, 1927. Adolphe Menjou was in attendance at the special event, as was the noted poet and then current French ambassador to the United States, . Each were introduced from the stage. It’s now known if Brooks was in attendance at the premiere.

— Arnold Kent (billed as Lido Manetti) had a small role in the film. He began his film career in Italy after having started as a stage actor. (Among his Italian credits were Quo Vadis and a few diva films directed by Augusto Genini.) In the mid-1920s, he moved to Hollywood and worked as a contract player at Universal and later at Paramount. He died in Hollywood in 1928 from injuries sustained in an automobile accident.

—  In 1931, Paramount produced two sound versions of the play at their studios in Joinville, France. A Spanish-language version, Un caballero de frac, was directed y Roger Capellani and Carlos San Martín and starred Roberto Rey and Gloria Guzmán. And a French-language version, Un home de habit, directed by René Guissart and Robert Bossis, starred Fernand Gravey and Suzy Vernon. Only the Spanish-language film was released in the United States. Additionally, in 1938, Charles Brackett and Billy Wilder outlined a treatment of the play, but nothing seems to have come of an American remake.

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2023. Further unauthorized use prohibited.

Happy St. Patricks Day from the Louise Brooks Society

In honor of St. Patrick's Day, a treasure from my collection of silent film related books - Colleen Moore's copy of "Beggars of Life", inscribed by the celebrated hobo author Jim Tully to the celebrated bobbed actress "with the admiration of an Irish Rover to a whimsical girl who knew him when" in Hollywood, California, 1926.  I am not sure if this is a first edition; and sadly, the dust jack is in tatters. But still, the bookplate and inscription is what sets this book apart.

The original price of the book was $3.00, according to the label from the Hollywood Book Store which is pasted to the rear end paper. I bought this book years ago here in California. The used book shop was asking $90.00, but I remember asking them for a discount and getting it. For obvious reasons, this book is a treasured possession.

 

 

 

Of course, it was another bobbed-hair beauty, Louise Brooks, who went on to star in the film version of Beggars of Life just two years later.

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2023. Further unauthorized use prohibited.

Exhibiting Louise Brooks Around the World

Louise Brooks is a 20th century icon, and a magnet for meaning. Just recently, I became aware of two exhibits which make use of Louise Brooks' name and likeness. 

One of them, "Weimar Female: Women and Gender Diversity in Modern Cinema (1918 – 1933)," runs March 29 to November 12, 2023 at the Deutsche Kinemathek – Museum for Film and Television, Berlin in Germany. More on the exhibition can be found HERE, though for more Louise Brooks you should also check out the Deutsche Kinemathek homepage.

According to the Deutsche Kinemathek website, "The exhibition is dedicated to gender diversity and women in the cinema of the Weimar Republic. Gender reversal, self-determination and homosexuality were themes in the film, but the most popular was the "New Woman": To this day, her type stands for modernity and breaking out of convention, he lives on in series like Babylon Berlin  or  Eldorado  KaDeWe . But who were the real New Women? After the First World War, they confidently took advantage of the professional opportunities, also in the up-and-coming film industry. Their stories are told with numerous exhibits and film examples." 

On Instagram, I also came across this stunning image promoting the exhibit. It depicts Alice Roberts and Louise Brooks in what can only be described as large format! From what I gather, around 150 additional exhibits were brought together exclusively for the Frankfurt presentation of the exhibit. I would love to hear from anyone who is able to check out either exhibit.

And the next day, elsewhere on the continent, Louise Brooks is once again the poster girl for an educational event in Spain. I also found this image and announcement on Instagram. The description states, "Literature and cinema once again go hand in hand where the same language is intertwined. A review of the narrative and visual history where the protagonists are women, including the career of Alice Guy-Blaché, Mary Pickford, Dorothy Azner, María Falconetti and Louise Brooks. Luis Romero Siluto will recreate a dreamlike atmosphere that will make us remember great moments of the genre. An unmissable date for great lovers of the seventh art. To register, contact the email: culturapilar@santacruzdelapalma.es or the contact telephone number: 922 42 00 07 (Department of Culture)."

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2023. Further unauthorized use prohibited.

New Louise Brooks graphic novel forthcoming - Dark Star: Louise Brooks in Berlin

Louise Brooks has been the subject of a number of comic strips and graphic novels over the years, from the long running Dixie Dugan / Show Girl strip beginning in the 1920s to Valentina in the 1960s and Louise Brooks Detective in 2015. There have been others. The latest is Shane Filer's Dark Star: Louise Brooks in Berlin, which is due out later this year. 

Here is some info from the author's press release.

LOUISE BROOKS BIOGRAPHY/COMIC: DARK STAR

A new graphic novel featuring iconic silent film star Louise Brooks is set to launch on Kickstarter in April/May. "Dark Star: Louise Brooks in Berlin" is written by Shane Filer and illustrated by Aulia Rachmatulloh.

This four-issue series takes readers on a wild ride through the life of one of the most enigmatic figures of the 20th century, Louise Brooks. Set in 1920s Berlin, Louise drifts through a single night, seeking a mysterious gift and encountering the city's present and future inhabitants. Through flashbacks of her past and flash-forwards into the unknown, Louise confronts herself and the demons that have haunted her throughout her life.

This is not a biography, nor is it entirely fiction, rather a darkly re-imagined biographical fairy tale. "Artists use lies to tell the truth," Alan Moore famously wrote, and "Dark Star" aims to do just that.

Shane Filer, the writer behind "Dark Star," previously published a novel (Exit) and wrote scripts for the long-running UK comic "Commando." One of his issues in this most male dominated comic, featured a very rare female heroine based visually upon Louise Brooks and brought to life by veteran Spanish comic book artist Carlos Pino.

Filer aims to tell compelling stories that resonate with readers, taking inspiration from comic classics like "Love and Rockets," "Maus," and "Concrete," along with influential comic book writers like Alan Moore, Neil Gaiman, authors like Haruki Murakami, Milan Kundera, and filmmakers like David Lynch, and Michelangelo Antonioni.

Illustrator Aulia Rachmatulloh, a talented Indonesian animator and artist, brings the story to life with beautiful, detailed artwork that fits the era. Art assistance is provided by artists Alessandro Saccotelli and Samuele Giannicola.

Don't miss out on the opportunity to explore the life of the iconic Louise Brooks in this unique graphic novel series. Support "Dark Star: Louise Brooks in Berlin" on Kickstarter, coming this April/May.

For more information, sign up to the project's newsletter.

THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society  (www.pandorasbox.com). Original contents copyright © 2023. Further unauthorized use prohibited.