New article on Louise Brooks

An article about Louise Brooks ran in today's Rochester Democrat & Chronicle. Jack Garner's excellent article,  "Louise Brooks, star of the silent era, made plenty of noise in Hollywood," looks at Brooks' life in Rochester, New York and notes that  next week the George Eastman House will be screening a couple of Brooks' most celebrated films, Diary of a Lost Girl (1929) and Prix de Beaute (1930).

The article begins: ""There is no Garbo, there is no Dietrich, there is only Louise Brooks!" That's what famed French film curator Henry Langlois once put on a giant banner to welcome Brooks to a Paris tribute. And, indeed, there are people who credit Brooks with being among the first great naturalistic actors in film history, as well as one of the most utterly sensual, even by today's standards."

It's a good newspaper article. Check it out here.

Reading

Recently, I finished reading Richard Schickel's D.W. Griffith: An American Life. Its a large biography - and deservedly so. Griffith had an amazing life. As Peter Bogdanovich noted in the New York Times Book Review, "Mr. Schickel's excellent and important biography makes it clear that when the movers of our century are tallied, D.W. Griffith, flawed genius that he was, can never lose his eminent position."

I am not sure what led me to decide to read this book. I am not fond of Griffith's films. I am aware of his historical importance, but I have never been drawn to his movies. They seem old fashioned, somewhat Victorian. As far as silent films are concerned, I prefer works from the 1920's. Nevertheless, I was really impressed by Schickel's biography. He tells the story of Griffith's life - his struggles as an actor and writer, his triumphs as a filmmaker, and his decline as an artist. And all of this is set against the backdrop of the emergance of film as an art form - of which Griffith was a leading pioneer.

Schickel's D.W. Griffith: An American Life is a great read. It is full of detail, balanced, and sympathetic. I would recommend it. I even found myself saddened by the end of the book. One day, I also hope to read Arthur Lennig's massive biography of Griffith, which is still in the works and is yet unpublished.



Currently, I am reading Marion Meade's biography of the writer Dorothy Parker, which is titled Dorothy Parker: What Fresh Hell Is This? I am about a third of the way through, and am enjoying it a good deal. This is the third Marion Meade book I will have read. The other two are Bobbed Hair and Bathtub Gin: Writers Running Wild in the Twenties and Buster Keaton: Cut to the Chase (a biography).

Margaret Livingston

Found on eBay:  A vintage postcard of actress Margaret Livingston, the actress who dubbed Louise Brooks' voice in The Canary Murder Case (1929). This image has its exotic attractions. 

RadioLulu

 

RadioLulu is a Louise Brooks-inspired online radio station broadcasting music of the Twenties through today. Listen by visiting here. Its free and fun.

What does RadioLulu play? This unique station features rare recordings from six of the actresses' films - including the haunting themes from Prix de Beaute and Beggars of Life. There's Maurice Chevalier's much-loved 1929 recording of "Louise," as well as other vintage tracks associated with the actress. RadioLulu also plays Brooks-inspired songs by contemporary artists such as Soul Coughing, Orchestral Manoeuvers in the Dark (OMD), Marillion, Ron Hawkins, and Sarah Azzarra.

Brooks co-stars and contemporaries are included among the rare recordings of silent film stars heard on RadioLulu. Interspersed throughout the more than 7 hours of programming are tracks by the likes of Rudolph Valentino, Pola Negri, Gloria Swanson, Joan Crawford, Adolphe Menjou, Ramon Novarro, Dolores Del Rio, Lupe Velez, Bebe Daniels and others!

You'll also hear torch singers, Jazz Age crooners, dance bands, show tunes, and some real hot jazz! And there are tracks featuring the great Polish chanteuse Hanka Ordonówna (who brings to mind Edith Piaf and Marlene Dietrich), the German dramatist Bertolt Brecht (singing "Mack the Knife" in 1929), and the cartoonist Robert Crumb (playing on "Chanson por Louise Brooks").

And, you're unlikely to find a station that plays more tracks with "Lulu" in the song's title than the always eclectic and always entertainingRadioLulu! Give it a listen by visiting RadioLulu today!

Vintage fashion photograph

Found on eBay: "A STUNNING original vintage portrait fashion photograph of Louise Brooks circa 1927."

Louise Brooks

Dancer, writer, and silent film star Louise Brooks was born on this day in 1906 in Cherryvale, Kansas. Happy Birthday, Louise !

Joel from Amherst, New York emailed to let me know that Brooks' birthday was an "entertainment alert" from the History channel.

"Have You Seen . . . ?": A Personal Introduction to 1,000 Films

Another new book which references Louise Brooks is David Thomson's "Have You Seen . . . ?": A Personal Introduction to 1,000 Films. In this just published work, the internationally acclaimed British-born film writer (whose many books include the classic Biographical Dictionary of Film) offers cinephiles and film novices alike a comprehensive yet personal list of 1,000 must-see films. One of the films Thomson writes about (each film gets a page) is Brooks' sensational 1929 silent film, Pandora's Box.

Thomson's inclusion of Pandora's Box is no surprise. As any reader of this blog knows, Thomson has written a handful of articles about the actress over the years. And she is referenced in other of his journalism and books. Its evident the film writer has an appreciation for the film star. In his new book, Thomson declares Pandora's Box Berlin premiere in February, 1929 to be one of the"turning points in cinema."

I have been acquainted with David Thomson for many years. And I will be hosting him for an author event on December 4 at 7:30 at the Booksmith in San Francisco. David will be discussing his new book, showing a few brief film clips, and signing books. I would like to encourage anyone interested in film to attend. David is a fascinating speaker (I have hosted him on a number of occasions) and he truly loves movies.

Some more information, from his publisher, about David Thomson's new book:  "In 1975, David Thomson published his Biographical Dictionary of Film, and few film books have enjoyed better press or such steady sales. Now, thirty-three years later, we have the companion volume, a second book of more than 1,000 pages in one voice — that of our most provocative contemporary film critic and historian.

Juxtaposing the fanciful and the fabulous, the old favorites and the forgotten, this sweeping collection presents the films that Thomson offers in response to the question he gets asked most often — “What should I see?” This new book is a generous history of film and an enticing critical appraisal written with as much humor and passion as historical knowledge. Not content to choose his own top films (though they are here), Thomson has created a list that will surprise and delight you — and send you to your best movie rental service.

But he also probes the question: after one hundred years of film, which ones are the best, and why? “Have You Seen . . . ?” suggests a true canon of cinema and one that’s almost completely accessible now, thanks to DVDs. This book is a must for anyone who loves the silver screen: the perfect confection to dip into at any point for a taste of controversy, little-known facts, and ideas about what to see. This is a volume you’ll want to return to again and again, like a dear but argumentative friend in the dark at the movies."

Speaking of Chicago

Speaking of Chicago, there is another review of the Chicago production of Alban Berg's Lulu. "Lyric Opera's Lulu a Lavish, Sensual Epic" appeared in yesterday's Chicago Examiner. The article references Louise Brooks.

John Boesche’s haunting black and white video projections – often ingeniously incorporated into the very sets – are little less than astounding. In one segment, a flickering melodrama unspools in silvery black and white as Lulu is arrested for murder, tried, convicted, imprisoned, stricken with some sort of near-fatal disease, hospitalized and caught up in an elaborate plot involving mistaken identities, daring escapes and Joan of Arc-worthy martyrdom. It’s a gorgeous silent film-in-an-opera, backed by Sir Davis’ impeccable orchestra and evocative of “Pandora’s Box,” the 1930 Louise Brooks classic that inspired Berg.

The article also contains some nifty images from the Lyric Opera production, including one of the Lulu character sporting a Brooks-ish bob. Check out the article and images here.

The Chicagoan: A Lost Magazine of the Jazz Age

A remarkable new book,  The Chicagoan: A Lost Magazine of the Jazz Age (University Of Chicago Press), has just been released. Its a book every fan of the Roaring Twenties should know about. It is impressive to say the least - and quite stunning to look at.

I don't own a copy (yet), and have only been able to briefly scan this new book. But, as I was flipping through it I quickly spotted a reference to The City Gone Wild (1927), the Chicago-inspired gangster film featuring Louise Brooks.

 

Here is some additional information from the publisher about this new book.

"While browsing the stacks of the Regenstein Library at the University of Chicago some years ago, noted historian Neil Harris made a surprising discovery: a group of nine plainly bound volumes whose unassuming spines bore the name the Chicagoan.  Pulling one down and leafing through its pages, Harris was startled to find it brimming with striking covers, fanciful art, witty cartoons, profiles of local personalities, and a whole range of incisive articles.  He quickly realized that he had stumbled upon a Chicago counterpart to the New Yorker that mysteriously had slipped through the cracks of history and memory.

Here Harris brings this lost magazine of the Jazz Age back to life. In its own words, the Chicagoan claimed to represent “a cultural, civilized, and vibrant” city “which needs make no obeisance to Park Avenue, Mayfair, or the Champs Elysees.” Urbane in aspiration and first published just sixteen months after the 1925 appearance of the New Yorker, it sought passionately to redeem the Windy City’s unhappy reputation for organized crime, political mayhem, and industrial squalor by demonstrating the presence of style and sophistication in the Midwest.  Harris’s substantial introductory essay here sets the stage, exploring the ambitions, tastes, and prejudices of Chicagoans during the 1920s and 30s.  The author then lets the Chicagoan speak for itself in lavish full-color segments that reproduce its many elements: from covers, cartoons, and editorials to reviews, features—and even one issue reprinted in its entirety.

Recalling a vivid moment in the life of the Second City, the Chicagoan is a forgotten treasure, offered here for a whole new age to enjoy."