A Note on the Origins of the Louise Brooks Society

I am writing this post to clear up some misinformation about the origins of the Louise Brooks Society website, specifically its name, the "Louise Brooks Society." 

Since first becoming interested in Brooks, I've enjoyed meeting and talking with others who shared my enthusiasm for this singular film star. Early on, I searched for some kind of group. I remember going to my local public library and looking through a directory of fan clubs -- but found no group dedicated to Brooks. This was in the early 1990s, just as the internet was getting going. With my own growing interest in computing, it occurred to me that I might form my own group, and the idea of starting a Louise Brooks website was born. I realized there would be no better way of reaching other fans and forming a group of like-minded individuals than over the internet. Thus, enabled by the world wide web, the Louise Brooks Society was born.

When I launched my site in 1995, I thought about what to call my fan-site, my group of pages. As I have long noted, the Louise Brooks Society drew its name from (was inspired by) a turn-of-phrase in John Lahr's New York Times review of Lulu in Hollywood. In this 1982 review, Lahr refers to the famed critic & screenwriter Herman J. Mankiewicz as the "founder of the Louise Brooks Literary Society, " Lahr did so because Mankiewicz, a sometime member of the Algonquin Round Table, was a kind of mentor to the 18 year old Brooks, to whom he gave reading material, invited to opening nights on Broadway, and in general tried to educate.

I liked Lahr's turn-of-phrase and its suggestion of an educational purpose, and as it reminded me of other groups with which I was familiar -- like the F. Scott Fitzgerald Society, I decided to name my website the Louise Brooks Society. That was in the summer of 1995. 

The phrase "Louise Brooks Literary Society" was an invention of John Lahr. There was no actual "Louise Brooks Literary Society" during Brooks' lifetime, nor is one mentioned in the definitive biography of the actress by Barry Paris. Let me also add that just recently I contacted John Lahr and he confirmed that he, not Mankiewicz, originated the term "Louise Brooks Literary Society". It was merely a descriptive turn-of-phrase, not a historical reference.

As is well documented and provable, I launched the Louise Brooks Society website in August, 1995. One of its very first media mentions and earliest print references dates to May 23, 1996, when the Louise Brooks Society was named a USA Today “Hot Site” and mentioned in the newspaper’s syndicated “Net: New and notable” column. The earliest Wayback Machine capture of the site at its current domain, www.pandorasbox.com, dates to April 11, 1997, while the earliest homepage captured by the Wayback Machine featuring a © symbol dates to June 27, 1998.

Let me also add that prior to the founding of my website in August 1995, there was no group or anything anywhere named "Louise Brooks Society". I originated that specific term. Any claims to the contrary is misinformation and a-historical non-sense. More information about the history of the Louise Brooks Society can be found on the Louise Brooks Society website.

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 © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

Love ’Em and Leave ’Em, starring Louise Brooks, shows at BFI in London on August 18

Love ’Em and Leave ’Em (1926), starring Louise Brooks, will be shown at the BFI (British Film Institute) NFT 2 in London on August 18. A 78 minute, 16mm print from the BFI National Archive will be shown at this rare screening, which will include an introduction and live piano accompaniment. (There are no details on who will give the intro or play the piano.) Tickets go on sale July 4. More information can be found HERE.

Love ’Em and Leave ’Em is a delightful film, and it proved popular in its day on both sides of the Atlantic. According to the BFI website,"Louise Brooks proves she is more than just a proficient at the Charleston in this snappy comedy of sibling rivalry. She almost out-acts the film’s star, Evelyn Brent, who plays the elder sister who has promised her mother to keep the vampish youngster out of trouble. It was Brooks’ best performance to date – ably directed by Frank Tuttle – and heralded her transfer to Hollywood and true stardom."

Critics praised the film and Brooks' role in it. In fact, many suggested Brooks stole the film from star Evelyn Brent. The New York Herald Tribune critic opined, “Love ‘Em and Leave ‘Em . . . did manage to accomplish one thing. It has silenced, for the time being at least, the charge that Louise Brooks cannot act. Her portrayal of the predatory shop girl of the Abbott-Weaver tale was one of the bright spots of recent film histrionism.”

John S. Cohen Jr. of the New York Sun added, “The real surprise of the film is Louise Brooks. With practically all connoisseurs of beauty in the throes of adulation over her generally effectiveness, Miss Brooks has not heretofore impressed anyone as a roomful (as Lorelei says) of Duses. But in Love 'Em and Leave 'Em, unless I too have simply fallen under her spell, she gives an uncannily effective impersonation of a bad little notion counter vampire. Even her excellent acting, however, cannot approach in effectiveness the scenes where, in ‘Scandals’ attire, she does what we may call a mean Charleston.”

Along with Louise Brooks and Evelyn Brent, Love Em and Leave Em also features leading man Lawrence Gray as well as Osgood Perkins, an accomplished stage actor and the father of later famwed actor Tony Perkins. Also in the cast is Ed Garvey, a star football player at Notre Dame, and Anita Page, who reportedly had an uncredited bit part.

In 1929, Love 'Em and Leave 'Em was remade as The Saturday Night Kid, a talkie starring Clara Bow, Jean Arthur, and James Hall with Jean Harlow in a bit part. And what's more, the remake was directed by Brooks' ex-husband Eddie Sutherland.

More information about the film can be found on the Love Em and Leave Em (filmography page) on the newly revamped Louise Brooks Society website. 

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 © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

Pandora's Box, starring Louise Brooks, to play at Wilton's Music Hall in London on June 24

Pandora's Box, starring Louise Brooks, will be shown at Wilton's Music Hall in London, England on Monday, June 24. That's tomorrow. This evening screening, presented by the Lucky Dog Picturehouse, will premiere "a brand new piano score, performed live". However, the venue posting does not mention who composed or will be performing the piano score. More information about this event can be found HERE.

And here is what the venue has to say about this event. "Now in their 11th year at Wilton's Music Hall, The Lucky Dog Picturehouse present a new score for the film that launched icon of the flapper age Louise Brooks to international stardom. Brooks stars as the effortlessly seductive Lulu, a high class courtesan and dancer who brings destruction to the Berlin bourgeoisie with her turbulent love affairs, both male and female. Heavily censored in its day, G.W. Pabst's 1929 Weimar masterpiece still feels incredibly modern and ranks among The Guardian's top 100 films of all time.

Experience this rare special screening with a brand new piano score, performed live.

'Silent Film has no finer custodians' Nicholas Barber, BBC Culture

'Loved every minute! A cultural treat for film and music fans' Joanna Van Der Meer, BFI

Running time: 2 hours 20 minutes, including interval

24th June . 7:30PM .

£11 - £16 full price | £8.50 - £13.50 concession"

 

Notably, accompanying  the above page is a small slideshow of images, one of which comes not from Pandora's Box, but from The Diary of a Lost Girl, the second film Brooks made with G. W. Pabst. I sure which presenters who should know better would stop mixing up these two films!

 

For more about Pandora's Box, please visit the newly revamped filmography page on the Louise Brooks Society website. 

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 © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

Rolled Stockings, starring Louise Brooks, was released on this day in 1927

Rolled Stockings, starring Louise Brooks, was released on this day in 1927. The film is a drama set among students at the fictional Colfax College. It was one of a number of similarly-themed films aimed toward the youth market of the 1920s. Besides Louise Brooks, who was then 20 years old, its cast included a few of Paramount's "junior stars" -- then up-and-comers Richard Arlen, James Hall, Nancy Phillips, and El Brendel. Brooks plays the love interest of two brothers, one a fop, the other an athlete. More about the film can be found on the Louise Brooks Society website filmography page.

To add verisimilitude, Rolled Stockings was largely filmed on and around the campus of the University of California, Berkeley. It also includes footage of actual crew races between the University of California and the University of Washington.

A summer release, the film proved popular wherever it was shown. Harrison’s Reports, a film industry trade journal, described Rolled Stockings as "a light comedy drama of college life" that was "Pretty good entertainment for the hot weather." The Chicago Tribune named it one of the six best films of June, 1927. Not surprisingly, the film found a receptive audience in college towns across the country. The critic for the Ann Arbor Times News, for example, appreciatively stated "The three stars, Louise Brooks, James Hall and Richard Arlen are so thoroughly likable and the story so different from the usual line of college bunk, that Rolled Stockings proves to be a delightful bit of cinema entertainment."

Rolled Stockings was a cut above many of the other motion pictures about the younger generation. The Seattle Times praised the film, noting "Paramount’s ‘youth’ picture, which is now at the Coliseum Theatre, has everything -- a thrilling college crew race, some exciting automobile scenes, snappy comedy, a good love story and lots of pep." Regina Cannon of the New York American proclaimed, "This is another college story and it is realistic enough to be entertaining. . . . Louise Brooks is seen for the first time in a ‘straight’ role. This child is so smartly sophisticated that it has seldom been her lot to portray anything but baby vamps on the screen. She has an unusual personality which the camera catches and magnifies, dresses snappily and makes the most of her every movie moment.”

Critics were divided on Brooks, the star of the film. Some noted her "provoking presence" and "demure charm, with its tricky suggestion of mild sophistication." The Los Angeles Examiner wrote, "Louise Brooks is utterly adorable as Carol Fleming. She is exactly the type college boys swoon over. She displays a sincerity in her work that has been absent from her previous roles. Though this particular part offers little opportunity to show any great acting, she measures up splendidly in the few scenes that border on the emotional." Across town, the Los Angeles Daily Illustrated News stated "Louise Brooks, judging by this film, is destined to go a long way. She has some of Colleen Moore's qualities with a dash of Florence Vidor thrown in, and a lot of her own distinctive personality."

The New York Daily Mirror countered, stating "Louise Brooks looks remarkably like Clara Bow, though she lacks the famed pep of our national flapper." The Washington Times went even further, "The leading role is borne by Louise Brooks and the part could have been better cast. Miss Brooks has the bad habit of stalking through her screen parts like an automaton and her face is devoid of emotion under all circumstances." In a piece titled "Louise Brooks Shows Acting Ability in Rivoli Feature," Mark K. Bowman found middle ground in the Portland Oregonian, "In the past Miss Brooks has been accused of strutting instead of acting, but it is apparent in this latest picture that she is endeavoring to do less posing, which is a promising move."

Under its American title, documented screenings of the film took place in Australia (including Tasmania), Bermuda, British Malaysia (Singapore), Canada, China, India, Ireland, Jamaica, New Zealand, 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 Reclutas por los Aires (Spanish-language press) and Agora Estamos no Ar (Portuguese-language press).

Elsewhere, Now We’re in the Air was shown under the title Deux Braves Poltrons (Algeria); Dos tiburones en el aire (Argentina); Riff und Raff als Luftschiffer (Austria); Nous sommes dans les air (Belgium); Dois aguias no ar (Brazil); Reclutas por los Aires (Chile); Reclutas por los Aires (Costa Rica); Reclutas por los Aires (Cuba); Ted my jsme ve vzduchu and Rif a Raf, Piloti (Czechoslovakia) and Riff a Raff strelci (Slovakia); To muntre Spioner (Denmark); Reclutas i Retaguardias (Dominican Republic); Nüüd, meie oleme õhus and Riffi ja Raffi õiged nimed (Estonia); Sankareita Ilmassa and Sankarit ilmassa and Hjaltar i luften (Finland); Deux Braves Poltrons (France); Riff und Raff als Luftschiffer (Germany); O Riff kai o Raff aeroporoi (Greece); Megfogtam a kémet! and Riff és Raff (Hungary); Kátu Njósnararnir (Iceland); Nou Vliegen We (Dutch East Indies / Indonesia); Aviatori per forza and Aviatori … per forza and Ed eccoci aviatori (Italy); Reclutas por los aires (Mexico); Hoera! We Vliegen (The Netherlands); Luftens Spioner (Norway); Riff i Raff jako Lotnicy (Poland); Riff es Raffal a foszerepekben (Romania);  Recrutas Aviadores (Portugal); Reclutas por los Aires (Spain); Hjältar i luften (Sweden); and Deux Braves Poltrons (Switzerland).

SOME THINGS ABOUT THE FILM YOU MAY NOT KNOW:

-- The film was based on a topical story, "Sheiks and Sheibas," by Frederica Sagor. Along with raccoon coats, flagpole sitters, goldfish swallowers, hip flasks, and ankle watches, rolled stockings worn by women were one of the many fads of the Jazz Age.

-- Rolled Stockings was first called Sheiks and Sheibas, but the title was changed because it conflicted with a First National property. At different times, different trade journals reported that Monty Brice and then Frank Strayer would direct the film, with Charles "Buddy" Rogers and Sterling Holloway among the cast.

-- Sally Blane, who had an uncredited part in Rolled Stockings, was born Elizabeth Jane Young and was the sister of actress Loretta Young.

-- Grover Jones, a gag man, doubled as director while the Rolled Stockings  company was on location in Berkeley, California. Director Richard Rosson was summoned to Hollywood by the death of his mother and Jones took the microphone and directed shots of the California-Washington boat race.

-- Years later, in an interview, Brooks said director Richard Rosson didn't want to direct the film, and in fact, didn't even want to be a director. "He'd been Allan Dwan's assistant, and it was an assistant that he wanted to be. During [this picture] he sat sweating, with a trembling script. There wasn't enough Bromo-Seltzer to float him out of his chair."

Louise Brooks Society director Thomas Gladysz with Rolled Stockings script writer
Frederica Sagor Maas in 1999. Also pictured, Christy Pascoe, associate director of the LBS.

 

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 © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.
 

Five silent-era films selected by Thomas Gladysz. A not-necessarily-best-of list, in alphabetical order.

Just recently, the folks at the San Francisco Silent Film Festival asked me to contribute to their ongoing series, a list of five silent films that I’d like to share with others. I said yes, and my list has been published on the SFSFF Instagram account, alongside the lists of other noted film historians, writers, critics, movie directors, and even a Doctor Who! 

My list is shown below. But do click through to check out the many other list by others at https://www.instagram.com/sfsilentfilm/

 
It shouldn't come as a surprise for me to have recommended Pandora's Box and Diary of a Lost Girl, two films starring Louise Brooks. Both are masterpieces, and both are films I have watched and rewatched a number of times -- and always found stirring. 

The Crowd is a tender and beautiful film about everyday people directed by King Vidor, one of my very favorite American directors of the silent era. If you have seen it, you should. 

Another film I love and another that tugs at one's heartstrings is He Who Gets Slapped, which stars Lon Chaney. Back in 2011, I wrote a program essay about the film for the San Francisco Silent Film Festival. Contemporary director Alexander Payne, who introduced the film, gave my essay a shout out from the stage, and since then, my piece has gotten some bounce. It has been reprinted by EbertFest and the Telluride Festival, and led me last year to be invited to Seattle, Washington to introduce the film (in costume) at the historic Paramount theater. It is a film close to my heart, as I love the story it was based on and Seastrom's expressive direction. My original essay can be found on the SFSFF website, along with other pieces I have written over the years.

A Strong Man, or in Polish Mocny Człowiek, is a film I have blogged about here in the past. It was directed by Henryk Szaro (1900 – 1942), a screenwriter and theater and film director. Born Henoch Szapiro to a Jewish family, Szaro was a leading Polish director of the late 1920s and 1930s. He was killed in the Warsaw Ghetto in 1942, after being pulled out of his apartment and shot in the streets. Something of a prodigy, Szaro was only 29 when he directed Mocny Czlowiek, his 7th film.

Like other Polish movies that disappeared during World War II, Mocny Czlowiek was long considered lost until a copy was found in Belgium in 1997. Based on a 1912 novel by Stanislaw Przybyszewski (a Dostoevskian Polish writer known as “the discoverer of the human naked soul”), Mocny Czlowiek tells the story of a mediocre journalist who, dreaming of fame and glory, leads his ill friend, a far more talented writer, to an early death in order to steal his unpublished manuscript.

Strong Man Gregori Chmara was once married to earlier Lulu Asta Nielsen

The film is remarkable for many reasons. What stands out is its contemporary sensibility, especially its moral relativity, drug use, and casual acceptance of criminal behavior. Also striking is its vigorous film narrative brought about through the use of dynamic camera movement, montage, and the use of dissolves and double and triple exposures. Like Poland, which was situated between two dominant political and military powers, this extraordinary Polish production shows the influence of both the German and Russian silent cinema -- though it stands firmly on its own. (Interestingly, the film's lead was played by the Ukranian-born Russian actor Gregori Chmara, who was married to one-time Lulu Asta Nielsen; his career ran from 1915 to 1971.)

If you like films from Weimar Germany, chances are you will like Mocny Czlowiek. It is a film which seeps into the dark recesses of the heart. Szaro's drama of individual cruelty, desire and weakness was recently restored and can be viewed on YouTube at https://www.youtube.com/watch?v=5VGr3gmiLyA

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 © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

Reminder: Pandora's Box, starring Louise Brooks, screens in Austin, Texas on June 16

Pandora's Box (1929), the landmark silent film starring Louise Brooks, will be shown on Sunday, June 16 (at 3:45 in the afternoon) and Wednesday, June 19 (at 6:00 in the evening) in Austin, Texas. This "Signature Presentation" of the recently restored version of the film is being presented by the Austin Film Society. More information about these screenings can be found HERE.

The Austin Film Society says this about the film: "Thoroughly, startlingly modern, this look at Lulu, a sexy-but-innocent showgirl who suffers for desire (her own) and others, made an icon of its star — Kansas-native, former Ziegfeld girl, and later film critic, Louise Brooks — and became one of the most controversial films in history."

Directed by G. W. Pabst
Germany, 1929, 2h 21min, DCP, Silent with English intertitles

The local Austin Chronicle ran a short piece on the screenings. It can be found HERE. And here is what they said.

1928, Not rated, 109 min. Directed by G.W. Pabst. Starring Louise Brooks, Fritz Kortner, Francis Lederer, Carl Goetz and Alice Roberts.

In the Greek legend of Pandora, all the ills of the world were unleashed when she opened her forbidden jar, and all that was left was that most precious and fragile of forces – hope. That’s sort of the story of Pandora’s Box. Reviled and censored on release, film fans and historians long hoped that it would be restored and reevaluated. Now the tale of Lulu, a libertine, and her sexual exploits across a repressive Europe, is seen as a masterpiece of Weimar cinema, most especially in the tension between Georg Wilhelm Pabst’s post-expressionistic directorial style and an eternally captivating and haunting performance from Louise Brooks, the American star who beat out Marlene Dietrich for the part. – Richard Whittaker

 

I don't know why the Austin Chronicle listed the wrong year and gave a much shorter time for the film!

For those who can't make this signature presentation, please note that Pandora's Box is now showing on HBO Max. See the previous LBS blog post.

For more about Pandora's Box, please visit the newly revamped filmography page on the Louise Brooks Society website. 

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 © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

Pandora's Box on HBO Max?

I have seen a couple of references online which mention that Pandora's Box, the seminal 1929 silent film  staring Louise Brooks, is currently screening on HBO Max. Is it true? 

I don't have that particular service, and thus can't find out on my own. If it is showing, is it the recently released "restored version"?

For more on Pandora's Box, be sure and check out the Pandora's Box (filmography page) on the Louise Brooks Society website.

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 © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

A Girl in Every Port, starring Louise Brooks, screens at NY MoMA on Aug 1

A Girl in Every Port, the 1928 Howard Hawks silent film starring starring Louise Brooks and Victor McLaglen, is set to screen at the Museum of Modern Art in New York on August 1. This special screening, which is part of MoMA's Silent Movie Week 2024, will feature piano accompaniment by Ben Model. More information about this event can be found HERE.

The NY MoMa page doesn't say much about the film, except to offer these minimal credits: "A Girl in Every Port. 1928. USA. Directed by Howard Hawks. Screenplay by Hawks, James Kevin McGuiness, Seton I. Miller, Sidney Lanfield, Reggie Morris, Malcolm Stuart Boyland. With Victor McLaglen, Louise Brooks, Robert Armstrong, Maria Casajuana (later Maria Alba), Leila Hyams, Eileen Sedgwick, Natalie Kingston, Myrna Loy. 35mm print courtesy of the George Eastman Museum. 78 min." [The film also features Sally Rand as the "Girl in Bombay," and William Demarest in an uncreditted bit part.] 

A Girl in Every Port is a "buddy film," the comedic story of two sailors and their adventures with various women in various ports of call. Sailor Spike Madden (played by Victor McLaglen), a happy-go-lucky Lothario, finds that another sailor is a rival for his girl friends in various ports of call. He finally overtakes Salami (Robert Armstrong), the other sailor, and they become fast friends. Spike believes he has fallen in love with Marie (Louise Brooks), an especially attractive gold digger in France, but his friend dissuades him and they continue their merry way.

The film was shot in November and December, 1927 at Fox's studios in Hollywood. Location shooting was done on a boating trip to Santa Cruz Island, located along the California coast. Under contract with Paramount, Louise Brooks was loaned to Fox for the film. More about A Girl in Every Port can be found on the Louise Brooks Society website.

The film received glowing reviews. TIME magazine stated, "A Girl in Every Port is really What Price Glory? translated from arid and terrestrial irony to marine gaiety of the most salty and miscellaneous nature. Nobody could be more charming than Louise Brooks, that clinging and tender little barnacle from the docks of Marseilles. Director Howard Hawks and his entire cast, especially Robert Armstrong, deserve bouquets and kudos.” Weekly Film Review noted that the audience "Cheered it - and loved it!"

Thanx Tim for the head's up! 

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 © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.

Happy birthday to Kevin Brownlow !

Happy birthday to author, film historian, documentary film maker, and Academy Award honoree Kevin Brownlow. He was born on this day in 1938. More about Kevin Brownlow and his many accomplishments can be found on his Wikipedia entry.

He has had a profound influence on my interest in Louise Brooks and early film, and thus my life. I will always appreciate our conversations and emails, his generous sharing of information (and images), the time he invited me to visit his London flat to talk about Louise Brooks, and the foreword he wrote to my most recent book, The Street of Forgotten Men: From Story to Screen and Beyond. Thank you.

I would also like to thank Kevin for all the books he has signed for me (I am a bit of an obsessive collector), and for restoring Abel Gance's Napoleon (1927). Seeing that film at the Paramount theater in Oakland back in 2012 stands as the greatest cinematic experience of my life. Here is something I wrote for the Huffington Post.

If you have any interest in silent film be sure and track down as many of Kevin Brownlow's books and documentary films.  His classic book, The Parade's Gone By (1968) is a must read. And, his 13-part Hollywood: A Celebration of the American Silent Film (1980) series - shown on PBS - is epic. Also, his 6-part Cinema Europe: The Other Hollywood is also outstanding. Louise Brooks features in all three of these works.

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 © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.