Prix de beauté, with Louise Brooks, was released on this day in 1930. In her last starring role and last European film, Louise Brooks plays a typist stuck in a dull job who wins a beauty contest. Like Pandora’s Box and Diary of a Lost Girl, Prix de beauté is a tragedy in which misfortune befalls the character played by Brooks. In a sense, the film can be seen as the third in a European trilogy starring the actress. The film is notable for being the first sound film to feature Brooks, although her dialogue and singing were dubbed, as well as one of the earliest French sound films.
More about the film can be found on the Louise Brooks Society website filmography page.
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Production of Prix de beauté was problematic. Intended as silent film and based on a story by G.W. Pabst and Rene Clair (with the French Clair as the intended director), funding for the project fell apart, and its production delayed. This was at the time when the European cinema was transitioning to sound. Eventually, Prix de beauté was released as a “talkie” under the direction of Augusto Genina, an Italian, with the Polish-born Rudolph Maté acting as cinematographer.
In June, 1930 Morris Gilbert wrote an article on the changing French film industry for the New York Times. He noted that a handful of American stars were appearing in French productions, including “Louise Brooks, a product of young Hollywood, is starring in the French Prix de beauté.” Gilbert’s mention was one of the first the film received in the United States.
That same month, writing in the British journal Close-Up, Charles E. Stenhouse gave the film one its first English-language reviews. Stenhouse wrote, “Louise Brooks [was] looking very photogenic as Miss France but not acting as well as when directed by Pabst. Never has one of Pabst’s discoveries achieved more than when under his inspiring influence. Greta Garbo! Brigitte Helm! And now Louise Brooks! The big trick in Prix de beauté is its remarkable ending, which redeems the previous passages whose very mediocrity emphasizes the ending’s splendour. An exceptional one and for once not a happy one. . . . A trick – but really one of beauty and irony, and at last a morsel of true sound-film technique.”
Variety reviewed the film on September 3, 1930. Writing about the Berlin screening, Magnus gave Prix de beauté a mixed notice. “In itself this talker is neither better nor worse than most others. . . . It shows the right conception for facts, a natural way of looking at things and reality. . . . This talker is very interesting, if only for the scene when the little girl has sunk back dead in her chair and her tune-picture continues singing from the screen. . . . Owing to bad synchronization this talker is a failure. . . . The acting is very good. Louise Brooks looks charming and she knows how to move.”
Miss Europa, as it was titled in Germany, did poor business, and reportedly only played for five days in August 1930. The film played across Europe — from Iceland to Poland, as well as in now former French colonies, like Algeria and Haiti. The film was not shown in the United States until decades later.
Under its French title, documented screenings of the film took place in Algeria, Belgium, Haiti, Japan, Madagascar, Sweden, Switzerland, and Turkey.
Elsewhere, Prix de beauté was shown under the title Vanidad (Argentina); Miss Europa (Austria); Miss Europa (Brazil); El Premio Fatal (Cuba); Miss Europa and Der Schönheitspreis (Czechoslovakia) and Miss Európa (Slovakia); Miss Europa (Danzig); Miss Europa (Denmark); Beauty Prize and Miss Europe (England); Miss Europa and Preis der Schönheit and Der Schönheitpreis (Germany); A szépsvg vására or Szépségvásár and Miss Europa (Hungary); Fegurðardrottning Euröpu (Iceland); Miss Europa and Premio di bellezza and Regina di bellezza (Italy); ミス・ヨーロッパ or Misu yōroppa (Japan); Premija par skaistumu and Skaistuma godalga (Latvia); Miss Europa (Der Schonheitspreis) (Luxembourg); Miss Europa and Schoonheidsprijs (The Netherlands); Skjønhetskonkurransen (Norway); Kobieto nie grzesz and Nagroda pieknosci and Nie Grzesz Kobieto (Poland); Miss Europa (Der Schonheitspreis) and Weib, sündige nicht (Poland, German language publication); Prémio de Beleza (Portugal); Nagrada za lepoto and Zrtev velike ljubezni (Slovenia); Premio de belleza (Spain, including Catalonia); Miss Europe (Switzerland); Güzellik Kiraliçesi and Güzellik Kirali-çasi and Küzellik Kirali-çasi and Güzellik Ödülü (Turkey); Nie Grzesz Kobieto! (Ukraine); Приз краси and Приз за красоту (U.S.S.R.); Vanidad (Uruguay, 1977); Vanidad (Venezuela).
In recent years, numerous screenings of the film have been taken place around the world, including first ever showings under the title Prix de beauté (or Beauty Prize or Miss Europe) in Australia, Canada, United States and elsewhere.
SOME THINGS ABOUT THE FILM YOU MAY NOT KNOW:
— For the European market, Prix de beauté was released in four languages – French, English, German and Italian. Brooks’ voice was dubbed by Hélène Regelly (in French) and Donatella Neri (in Italian).
— On June 15, 1930 Morris Gilbert wrote an article on the changing French film industry for the New York Times. He noted “Louise Brooks, a product of young Hollywood, is starring in the French Prix de beauté.” This marked the first mention of the film in an American publication. Prix de beauté, however, was not shown in the United States until decades later.
— In 1932, Editions Jules Tallandier published an illustrated novelization of the film as part of its Cinema-Bibliotheque series. Boisyvon, who would go on to establish himself as a film historian and critic, wrote the story.
More about Prix de beauté can be found on the newly revamped Louise Brooks Society website on its Prix de beauté (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 © 2025. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.
