Check out those wheels . . . .

Two seldom seen photographs of Louise Brooks looking over an automobile, taken in France in 1929 while the actress was working on Prix de Beaute.

Cool pic of the day: Louise Brooks

Cool pic of the day: Louise Brooks

A cubist drawing of Charlie Chaplin

Just because it is: A cubist drawing of Charlie Chaplin from the book Bonjour, Cinéma (1921), by Jean Epstein.

Epstein was a French filmmaker, film theorist, literary critic, and novelist. Although he is remembered today primarily for his adaptation of Edgar Allan Poe's The Fall of the House of Usher (1928), Epstein directed three dozen films and was an influential critic of literature and film from the early 1920s through the late 1940s. He is often associated with French Impressionist Cinema. In July 2012, a book of Epstein's critical essays was published in English translation.

Love Letters of an Interior Decorator - 1928 fiction which mentions Louise Brooks

Show Girl, by J. P. McEvoy, is well known among devotees of Louise Brooks as the first novel to feature a major character or storyline inspired by the actress. First serialized in Liberty magazine in 1928 (and quickly published in book form by Simon & Schuster), Show Girl told of the life and adventures of a character named Dixie Dugan.

The novel and its two follow-up books, Show Girl in Hollywood and Show Girl in Society, proved popular. So much so that they spawned a long-running comic strip which lasted into the 1960s, "Dixie Dugan," as well as a stage play, Show Girl, and two movies which unfortunately did not star Louise Brooks.

This sort of buzz makes one wonder if there were other works of fiction which either featured or named-checked the actress. There were, of course, the various fictionalizations and novelizations of the films in which Brooks' appeared.

Just recently, I came across another work of fiction which mentions, and even pictures, Louise Brooks. And that's not all, as it also notes her appearance in Beggars of Life!

The work in question is Love Letters of an Interior Decorator, by Bert Green; he also drew its illustrations. (Bert Green worked as a film animator in the teens, drew comic strips including "Kids," wrote fiction and scripts, and even directed a Hollywood short.) Like Show Girl, this novel was first serialized in Liberty magazine before being published in book form by Frederick A. Stokes, a leading publisher of the time.

Green's comedic novel has been described as a zany romp and as a cornerstone of Prohibition and Jazz Age fiction. Written in the manner of Gentleman Prefer Blondes, the malaprop-dropping narrator is a bootlegger in love with the flapper depicted on the cover. Subtitled "Romantic Outbursts of a Bootlegger," the story concerns, among other things, the tricky task of providing alcohol (then banned) to the Hollywood community, including its directors and actors. The bootlegger in question, Mike Shea, is known as an "Interior Decorator," as his job involves "plastering." For the uninitiated as well as the sober, the slang is explained on the book's back cover.

The chapter that came to my attention, "Rough Stuff Among the Stars," was published in Liberty magazine in July of 1928 (a few months before the release of the William Wellman directed film, Beggars of Life); it is the chapter which mentions Louise Brooks and her role as girl who dresses as a boy and goes on the run in Jim Tully's story.

This work of fiction certainly counts as one of the earliest works which mentions the actress. What follows is "Rough Stuff Among the Stars." For those interested, vintage copies of the book can be found on amazon.com, ebay, abebooks.com, and elsewhere.

Polish edition of Laura Moriarty's Louise Brooks novel, The Chaperone

The Polish edition of Laura Moriarty's novel, The Chaperone, has been published by Bukowy Las. In Poland, the book is titled Przyzwoitka. Alas, there is no Louise Brooks cover art. Here is the publisher supplied description:

"Inspirowana życiem gwiazdy filmu niemego Louise Brooks opowieść o dwóch diametralnie różnych kobietach oraz o nowojorskim lecie, które je odmieniło W 1922 r., jeszcze zanim stała się sławną aktorką filmową oraz ikoną swojego pokolenia, piętnastoletnia Louise Brooks wyjeżdża latem z Wichita w stanie Kansas do Nowego Jorku, by pobierać naukę w awangardowej szkole tańca Denishawn. Ku jej wielkiemu niezadowoleniu towarzyszy jej trzydziestosześcioletnia przyzwoitka. Cora Carlisle nie jest ani matką, ani przyjaciółką, a po prostu szacowną sąsiadką, którą rodzice Louise wynajmują przez wzgląd na przyzwoitość. Tradycyjna i zacna Cora, która udaje się w tę podróż także z powodów prywatnych, nie zdaje sobie sprawy, na co się zdecydowała. Louise, olśniewająco piękna już w tak młodym wieku i paradująca w słynnej krótkiej fryzurze, znana jest z arogancji, nierespektowania konwenansów oraz z żywej inteligencji. Zanim pociąg zatrzyma się na nowojorskim dworcu Grand Central, Cora nabiera obaw, że pilnowanie Louise będzie co najmniej wyczerpujące, a w najgorszym wypadku wręcz niemożliwe. Ostatecznie jednak te wspólnie spędzone z młodziutką dziewczyną tygodnie okażą się najważniejszym czasem w jej życiu."

Translation: "Inspired by the life of silent film star Louise Brooks, a tale of two radically different women and the New York City summer that changed in 1922, even before she became a famous film actress and icon of his generation, fifteen year old Louise Brooks leaves in summer, from Wichita, Kansas to New York to get enrolled in school by Denishawn dance. To her great disappointment of trzydziestosześcioletnia is accompanied by a chaperone. Cora Carlisle is neither her mother nor her friend, and simply distinguished neighbor, Louise's parents rent for the sake of propriety. The traditional zacna and Cora, who goes on this journey with private reasons, does not realize what you decided. Louise, drop-dead gorgeous already at such a young age and paradująca in the famous short hairstyle, is known for its arrogance, to become sources of conventions and with living intelligence. Before the train stops at New York's Grand Central station, Cora takes on fears that ensure Louise will at least be comprehensive, and at worst impossible. Ultimately, however, these jointly spent with young girl weeks will prove to be the most important time in her life."

And for those keeping track, here is the cover of the 2013 German edition. Laura Moriarty's  novel was translated into German by Britta Evert, and titled Das Schmetterlings mädchen. 

The publisher's description reads: "New York in den Goldenen Zwanzigern: Eine turbulente Metropole voller Leben, Musik, Abenteuer - ein aufregendes Versprechen. Als die fünfzehnjährige Louise aus dem verschlafenen Kansas dorthin reist, um Tänzerin zu werden, geht für sie ein Traum in Erfüllung. Hals über Kopf stürzt sich das neugierige, unkonventionelle Mädchen in diese berauschende Welt - sehr zum Missfallen ihrer Anstandsdame Cora, einer Frau mit traditionellen Wertvorstellungen. Doch hinter Coras korrekter Fassade verbirgt sich ein trauriges Schicksal, von dem niemand ahnt. Die Reise nach New York ist für sie eine Reise in die Vergangenheit."

Translation: "New York in the Roaring Twenties: A turbulent metropolis full of life, music, adventure - an exciting promise. As a fifteen year old Louise from the sleepy Kansas travels there to be a dancer, she goes for a dream come true. Head over to the curious, unconventional girl falls into this intoxicating world - much to the displeasure of their chaperone Cora, a woman with traditional values​​. But behind Cora's correct facade hides a sad fate from which no one suspects. The trip to New York for them is a journey into the past." 

Evening Clothes - A Round-up of Reviews

Evening Clothes, Louise Brooks' eighth film, was officially released on this day in 1927. The film is a comedy-drama about a French gentleman farmer who, spurned by his bride, goes to Paris in order to become sophisticated enough to win her back. The film is lost, as are all of Brooks' films from 1927.

Evening Clothes was directed by Luther Reed. Adolphe Menjou played Lucien d'Artois, Virginia Valli was Germaine, Noah Beery played Lazarre, and Louise Brooks was Fox Trot. Notably, this is one of the rare silent films films in which Brooks did not appear in her signature bob. And not surprisingly, many reviewers and critics of the time commented on the actress' different hair style.

Evening Clothes proved popular in its day. Here is a round up of newspaper and magazine reviews and articles drawn from the Louise Brooks Society archive.

Parsons, Louella O. "Evening Clothes an Entertaining Story." Los Angeles Examiner, March 5, 1927. --- "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."

Yorke, Hal. "Evening Clothes Presents Menjou at Metropolitan." Los Angeles Daily Illustrated News, March 5, 1927.
--- "Louise Brooks - yes, the one you dream about - is as alluring and pert as ever."

anonymous. "Menjou Picture Outstanding for Hirsute Effects." Los Angeles Times, March 6, 1927. --- "Louise Brooks, who plays one of the featured roles in the picture, has sacrificed the distinctive bob."

Taylor, Ken. "You'd Hardly Know Menjou with a Beard." Los Angeles Evening Express, March 7, 1927.
--- "Louise Brooks, whose haunting vivacity has necessitated the restringing of more than one male's heartstrings." - review in Los Angeles, California newspaper

Kreisman, Louise. "Evening Clothes At the Metropolitan." Daily Bruin, March 10, 1927.
--- "Louise Brooks, as a curely headed chorus girl . . . The rest of the time she excells in flippancy and heartlessness." - review in UCLA student newspaper

Beaton, Welford. "High School Girls Select Mr. Menjou." and "Some Good and Not So Good Direction." Film Spectator, March 19, 1927.
--- "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."

anonymous. "Adolphe is Himself Again." New York Telegram, March 21, 1927.
--- "It is a delightful little comedy. . . . Virginia Valli and Louise Brooks (permanently waved) appear both provocative and Parisienne as the leading ladies." 

Hall, Mordaunt. "Bankruptcy and Love." New York Times, March 21, 1927.
--- "Ms. Brooks, with a change in her eyebrows and curly hair, is stunning."

Cannon, Regina. "Menjou's Beard Surprise in Film Evening Clothes." New York American, March 22, 1927.
--- "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."

C., O. "The Current Cinema." New Yorker, March 26, 1927.
--- short mention in film column "Louise Brooks makes herself more able than usual by the aid of a trick haircut."

O., H.H. "Stage and Screen." Ann Arbor Times News, April 10, 1927.
--- "Louise Brooks, as Fox Trot, a pert little inhabitute of the Parisian cafes, adds her usual snappy characterizations."

Seeking a copy of BBC program, Icons: Louise Brooks

Does anyone have a copy of the 15-20 minute BBC program called Icons, specifically the Louise Brooks episode?

It first aired on the BBC in 2001, and was repeated in 2002, 2003, and 2004. It also aired on MSN on May 1, 2001 in the USA. See this link http://tv.msn.com/tv/episode/icons/louise-brooks.1/

The TV listing from English newspapers of the time describe it as "Fans explain the appeal of actress Louise Brooks."

I gotta see it!