Saturday, September 26, 2015

Louise Brooks, product placement, soap, and the 1931 film It Pays to Advertise #1

The 1931 film It Pays to Advertise is a farce about rival soap companies, an advertising agency, and a ne’er do-well playboy who attempts to make good. Louise Brooks plays Thelma Temple, a dancer appearing in a musical entitled Girlies Don’t Tell.

It Pays to Advertise was based on a popular stage play of the same name from 1914. Updated and set in the advertising and business worlds, the film referenced a number of actual products and their slogans. As a result, one trade journal took exception.

Harrison’s Reports, which billed itself “a reviewing service free from the influence of film advertising,” objected to product placement in film — be it verbal or visual. Over the course of four months (in articles titled “The Facts About Concealed Advertisements in Paramount Pictures,” “This Paper’s Further Efforts Against ‘Sponsored’ Screen Advertisements,” and “Other Papers That Have Joined the Harrison Crusade Against Unlabelled Screen Advertising”) editor P. S. Harrison railed against this business world farce in particular and product placement in films in general.

Harrison wrote, “The Paramount picture, It Pays to Advertise, is nothing but a billboard of immense size. I have not been able to count all of the nationally advertised articles that are spoken of by the characters.” In the next issue, Harrison stated “In last week’s issue the disclosure was made that in It Pays to Advertise there are more than fifteen advertisements in addition to the main advertisement, '13 Soap Unlucky for Dirt,' which Paramount is accused of having created as a brand for the purpose of selling it.”

Taking the high moral ground, Harrison’s Reports spurred a campaign against “sponsored moving pictures – meaning pictures which contain concealed or open advertising of some one’s product.” Harrison wrote to the studios – and Harrison’s Reports noted that a handful responded with pledges to not include verbal or visual product placement. The crusading editor also wrote to more than 2,000 newspapers, and a number published articles and editorials decrying the practice.

Among those papers that joined Harrison’s cause were four of the New York dailies, the Gannett chain, scores of small town papers, as well as the Denver Post, Detroit Free Press, St. Louis Globe-Democrat, and Tulsa Tribune. The Christian Science Monitor added to the chorus of complaint when it remarked, “Paramount should have been well paid for the large slices of publicity for trade-marked products that are spread all through this artificial story.”

Because of tepid reviews and negative publicity, It Pays to Advertise did poorly at the box office. At best, most exhibitors reported only fair business. In Los Angeles, according to one report, the film “set a new low.”

And what of "13 Soap -- Unlucky for Dirt"? The name of this fictional brand originated with the original story. I don't know that such a brand actually existed at the time the 1931 film was released, but according to news reports from the time (and this could be ballyhoo -- see tomorrow's blog post), an offer of $250,000 was made to secure the trademark for "13 Soap -- Unlucky for Dirt".

Sometime in the last number of years, a company called LUSH manufactured a hand-made soap called "13 Soap -- Unlucky for Dirt". (Unfortunately, this product has since been discontinued.) According to the company's website, the soap was named for the fictitious product in the 1931 film, It Pays to Advertise, starring Carole Lombard, Norman Foster, Skeets Gallagher, and featuring Louise Brooks. Here is a picture of that product, followed by the company description.




Ingredients: Oregano and Rose Petal Infusion (Origanum vulgare and Rosa centifolia), Propylene Glycol, Rapeseed Oil & Sunflower Oil & Coconut Oil (Brassica napus, Helianthus annuus, Cocos nucifera), Water (Aqua), Sodium Lauryl Sulfate, Honey, Perfume, Sodum Hydroxide, Manuka Honey, Sodium Stearate, Oregano Oil (Origanum vulgare), Rose Absolute (Rosa damascena), Geranium Oil (Pelargonium graveolens), Sodium Chloride, Geraniol, *Limonene, Colour 18050.

Lush Times: Our beautiful rose and oregano soap gets its name from a 1931 Hollywood film about a soap company; the son advertised a soap that didn’t exist and demand was so high, the dad had to make it. Sounds like typical Lush, except for the advertising part. Sue from Chelmsford and Dawn from Cambridge had been asked by nurses for an oregano soap because they'd heard that oregano kills MRSA bacteria. (University of the West of England 2008.) This lovely soap has been like gold dust; we adore its translucent loveliness, its scent and its very effective cleansing properties.

Friday, September 25, 2015

It Pays to Advertise

Here is a full page relating to It Pays to Advertise, the 1914 play that became the 1931 film featuring Louise Brooks. Pages similar to this were run in newspapers in 1931, typically groups of smaller ads from local merchants which tied in with the local showing of the Frank Tuttle directed film.


Thursday, September 24, 2015

UFA Film nights in Brussels present Pandora's Box starring Louise Brooks

Pandora's Box (1929) starring Louise Brooks will be shown in Brussels later today, Thursday September 24, 2015 @ 20h. The screening is part of the UFA nights series. Music to accompany the film will be provided by the Brussels Philharmonic. More information at http://bit.ly/UFApandorasbox

Brussels Philharmonic Christian Schumann director
Pandora's Box (1928/29) Georg Wilhelm Pabst
Music : Peer Raben, adapt. Frank Strobel

Pandora’s Box, G.W. Pabst’s controversial film which made actress Louise Brooks instantly world famous, transcends its time. The film tells the story of Dr. Schoen and his eventful affair with the sensuous Lulu, who, after she has shot him, takes to her heels towards London, where she will meet her fate in the hands of Jack the Ripper.


Tuesday, September 22, 2015

How did you first come across Louise Brooks?

To celebrate its 20th anniversary, the Louise Brooks Society is soliciting short essays from the actresses' many fans asking them to describe how and when they first came across Louise Brooks, and what the actress means to them. The length of the piece is up to the writer, with the only requirement being that it be detailed and individualized. Pieces that range from short anecdotes to full fledged compositions are welcome.

Selected submissions will be run here on the Louise Brooks Society blog, and the best piece (in the eyes of the LBS) will be awarded some Louise Brooks swag - like the forthcoming KINO Diary of a Lost Girl Blu-ray bundled together with a signed copy of the Louise Brooks edition of The Diary of a Lost Girl (PandorasBox Press). The deadline for submissions is December 1, 2015 with the prize awarded later that month (before Christmas).

Sharpen your pencils, start your engines. Send submissions to LouiseBrooksSociety@gmail.com

Monday, September 21, 2015

Can you find Louise Brooks?


Pick them out if you can.  That is, if you can find Louise Brooks.


Sunday, September 20, 2015

Louise Brooks' Diary of a Lost Girl on Blu-ray one month from today

One month from today, KINO will release Diary of a Lost Girl on Blu-ray and DVD! Be sure and pre-order your copy today. Here are some details.


"The second and final collaboration of actress Louise Brooks and director G.W. Pabst (Pandora's Box), DIARY OF A LOST GIRL is a provocative adaptation of Margarethe Böhme's notorious novel, in which the naive daughter of a middle class pharmacist is seduced by her father's assistant, only to be disowned and sent to a repressive home for wayward girls. She escapes, searches for her child, and ends up in a high-class brothel, only to turn the tables on the society which had abused her. It's another tour-de-force performance by Brooks, whom silent film historian Kevin Brownlow calls an 'actress of brilliance, a luminescent personality and a beauty unparalleled in screen history'."

Special Features: Mastered in HD from archival 35mm elements, and digitally restored; Audio commentary by Thomas Gladysz, Director, Louise Brooks Society; includes the short Windy Riley Goes Hollywood (1931, 18 Min., featuring Louise Brooks).
  • Actors: Louise Brooks, Fritz Rasp, Valeska Gert
  • Directors: Georg Wilhelm Pabst
  • Format: Multiple Formats, Blu-ray, NTSC, Subtitled
  • Language: German
  • Subtitles: English
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: Kino Lorber
  • DVD Release Date: Tuesday, October 20, 2015
  • Run Time: 112 minutes

Saturday, September 19, 2015

Louise Brooks Society celebrates 20 years on the web #2

This Fall, the Louise Brooks Society celebrates 20 years on the web. Launched in 1995, the LBS was a pioneer among silent film websites, and it remains today the #1 source for all things Lulu. Here are a few links to some of the many articles about and mentioning the LBS.

Meddis, Sam Vincent. “Net: New and notable.” USA Today, May 23, 1996.
— “Silent-film buffs can get a taste of how a fan club from yesteryear plays on the Web. The Louise Brooks Society site includes interview, trivia and photos. It also draws an international audience.”

Roberson, Fontaine. “Flapper Has ‘Virtual’ Fan Club in Noe Valley.” Noe Valley Voice, September, 1997.
— article in San Francisco, California monthly

Silberman, Steve. “Fan Site Sparks Biopic.” Wired, April 10, 1998.
— article on Wired magazine website (additionally referenced online by Roger Ebert)


O’Connell, Pamela Licalzi. “Dreaming Celebrities and the Earth’s Eye Candy.” New York Times, August 29, 2002.
— “The Louise Brooks Society (www.pandorasbox.com) is an excellent homage to the art of the silent film as well as one of its most luminous stars.” – mention in New York newspaper

Dufour, Nicolas. “Louise Brooks, l’adoration perpétuelle.” Le Temps, December 23, 2004.
— referenced in French newspaper

Caloudas, Constantine. “Louise Bobs Her Hair.” Washington City Paper, July 22, 2005.
— referenced in Washington, D.C. weekly

Maltin, Leonard. “Links We Like: Louise Brooks Society.” Leonard Maltin’s Movie Crazy, August 1, 2005.
— “Not many sites of any kind can claim to be celebrating a tenth anniversary online, but that’s true of the Louise Brooks Society, devoted to the life and times of the magnetic silent-film star and latter-day memoirist. Thomas Gladysz has assembled a formidable amount of material on the actress and her era; there’s not only a lot to read and enjoy, but there’s a gift shop and even a ‘Radio Lulu’ function that allows you to listen to music of the 1920s. Wow!”


Matheson, Whitney. “Happy birthday, Louise!USA Today, November 14, 2006.
— “My favorite Louise Brooks site belongs to the Louise Brooks Society, a devoted group of fans that even keeps a blog. There, you can find just about everything about the actress: articles, filmography, photos, links and more.”

SiouxWire. “Interview: THOMAS GLADYSZ, founder of the LOUISE BROOKS Society.” SiouxWire, April 5, 2007.
— interview on website

Blackburn, Gavin. “Forgotten book by Margarete Boehme to be revived in US.” Deutsche Welle, November 3, 2010.
— mention in article on English-language German news site

K., A. “Stoletni dnevnik prostitutke, oče avtobiografskih izmišljotin?RTV Slovenia, November 4, 2010.
— mention in article on Slovenian news site

LaSalle, Mick. “Diary of a Lost Girl to be screened at main library.” San Francisco Chronicle, November 12, 2010.
— referenced in California newspaper

Rombeck, Terry. “A cut above: Local author’s novel generates national buzz.” Lawrence News-Tribune, June 10, 2012.
— referenced in Kansas newspaper

Toole, Michael T. “Reopening Pandora’s Box in San Francisco.” Film International, August 22, 2012.
— interview in film journal


Smurthwaite, Nick. “The Archive: Louise Brooks – something of an enigma.” The Stage, September 1, 2015.
— “One of the most luminous stars of the silent era, Louise Brooks has been all but erased from cinema history. Only a handful of movie buffs keep her memory alive, mostly through the 20-year-old Louise Brooks Society, whose aim is to honour the charismatic actor and stimulate interest in her life and work.” – mentioned in UK theater publication


To celebrate its 20th anniversary, the Louise Brooks Society is soliciting short essays from the actresses' many fans asking them to describe how and when they first came across Louise Brooks, and what the actress means to them. The length of the piece is up to the writer, with the only requirement being that it be detailed and individualized. Pieces that range from short anecdotes to full fledged compositions are welcome.

Selected submissions will be run here on the Louise Brooks Society blog, and the best piece (in the eyes of the LBS) will be awarded some Louise Brooks swag - like the just released KINO Diary of a Lost Girl Blu-ray bundled together with a signed copy of the Louise Brooks edition of The Diary of a Lost Girl (PandorasBox Press). The deadline for submissions is December 1, 2015 with the prize awarded later that month (before Christmas). Send submissions to LouiseBrooksSociety@gmail.com

Friday, September 18, 2015

Excerpt from the Louise Brooks inspired Roaring Road novels by Johann M.C. Laesecke

What follows is a brief excerpt from chapter 26 of the Louise Brooks-inspired novel The Roaring Road: Book 2 The Road East. According to author Johann M.C. Laesecke, "There are things not evident in this excerpt, including a description of how Louise transfers the derringer to Laure. Too much of a spoiler. But the excerpt is a good example of one of Louise's actions in The Roaring Road."

For more on this work of historical fiction, check out the interview with the author on the Louise Brooks Society blog from September 8th.

------ 

“Who do we have watching the Crawford Theater tonight in case any of Pádraigh or any of his people show up?”

“We have not assigned that. Although it’s unlikely they show, we should have someone there who can think fast and call for backup. Someone that Laure, Frank and Buster would recognize, but who is not known to Pádraigh” Dawn said.

“I’ll watch the Crawford” and we all turned in surprise to Louise Brooks. She was in the meeting because she wanted to make sure we would get Buster out soon.

Bill said “Everyone would recognize you Louise, even some of Pádraigh’s gunmen.”

“And what if they do? You guys haven’t let me outside except when I go in disguise. And they don’t know I’m with you guys. My father moved us to Wichita and I went to high school here. I’m well known in Wichita so tonight I can play Louise Brooks, lost little girl from Kansas, an ex-Denishawn, ex-George White’s Scandals and ex-Ziegfeld Follies dancer and now one of Paramount’s new Junior Stars. I danced at the Crawford Theater when I was with Denishawn so it would be natural for me to attend their performance. I can move about the place and no one would be suspicious. I know all the back rooms and hallways and even the basement hidey-hole. It was put there by one of the builders who was also a rumrunner. Montgomery County was dry a long time before Prohibition and I dated guys who knew how to move contraband here.”

“I would like to see the latest Denishawn players and dance routines and the Pádraigh guys probably won’t show up, but if they do I can sneak out to the drugstore around the corner where they have public telephone booths and call you. The best case would be if Buster or Laure or Frank show up so I could pass a message or something.” Louise looked at me and I could tell she was serious. While she was not an experienced operative she was very smart, not a coward, could think on her toes and she was a natural actress. After a short discussion everyone agreed and I asked Louise if she would agree to try to pass Laure’s derringer to her if she was there. It would be dangerous and have to be done with the utmost subtlety so when she agreed I told her to talk to Dawn and Meghan before she went to the Crawford Theater.

After the meeting Louise stopped by to see Dawn and Meghan, who gave Louise a small cloth bag. It was heavy, as if it had a metal object in it. “It’s a derringer, a very small handgun that Laure requested.”

“I’ve shot guns and I know what a derringer is. How do I give it to Laure?” asked Louise.

“There’s no way to plan that because we don’t know if she is really going to be there and how many men will be watching her if she is. You must get it to her without anyone knowing, without any suspicion. If nothing else, try to give it to Buster or Frank. If they are there but if it doesn’t look possible to transfer the gun, call Meghan at this telephone number. Memorize the telephone number so if you’re caught they won’t find it on you. If you call Meghan, just say something like ‘I forgot to feed the dog, can you do it?’ and Meghan will be there as quick as she can. And don’t feel bad about asking for help – even the best and most seasoned operators know that calling for backup is better than forcing the issue and getting caught or blowing the game. When Meghan arrives she will assess the situation. One of the things she might do would be to create a diversion to draw everyone’s attention away from you, to give you a chance to pass the gun to Laure.”

“Is Laure going to shoot the gangster?” Louise asked.

“She will if the opportunity presents itself. She is very courageous and resourceful” said Dawn.

“Like her sister?” Louise asked with a beautiful, rare smile.

“Yes, just like her sister. You OK with this? You don’t have to do this, you know. It’s not your business and it could turn dangerous” said Dawn.

“I’m OK doing this. I love Dan and Laure, they are so wonderful together and they treat me like a loved sister instead of a dumb bunny like some others do. I’ve made a mess of their relationship so maybe I’m feeling a little bit guilty. If Laure is being held against her will I want to help get her out. I also need to get Buster out for my own carnal needs. Since I can be expected to know my way around the theater and talk to lots of people, I will blend into the audience.”

Dawn said “Thank you Louise. You have a good heart. If you call Meghan, I will be somewhere in the background too and I’ll watch for you if there’s any trouble.”

“Me? Have a good heart? Don’t let that get around. I have to keep up my reputation for enraging people” Louise said. Dawn laughed. She was beginning to like Louise.

Laure wanted to be at the theater early to get good seats but Buster called ahead and talked to the theater manager and requested three seats together be held for an important person who would arrive just a few minutes before the show started. The manager reluctantly agreed when Buster promised to pass something along when they shook hands.

They arrived at the theater four minutes before show time and Buster sought out the manager, shook hands with him and the manager found a sawbuck in his hand. The manager was disappointed because the usual tip for these seats was twenty bucks each. Frank, Laure and Buster were seated just six rows back and near the middle of the row, a perfect sight line for the show. Frank and Laure had become very good at talking to each other without moving their lips much and he told Laure that he was sure someone from Dan’s crew would be here too, but not to acknowledge anyone, which could jeopardize any transfer of materials or messages. Frank knew Laure was hoping to get her derringer. Frank told Laure who then passed it on to Buster that he had spotted Tony in the audience a few rows back and that there might be others that he had not seen, so they had to be extra careful. Frank and Buster would have to act like tough bodyguards if she talked to anyone in the theater.

The show began with a short vaudeville act that wasn’t very funny or interesting. Laure wished that W.C. Fields was there. Now he was a man who got the audience to laugh. The dance show began on time and although Laure only knew ballroom and jazz dancing, she thought the Denishawn Dancers were very elegant and graceful, with each dance telling a story. She could see why Louise had enjoyed dancing with Denishawn, even if they did throw her out for being too bold when it came to her relationships with men. At intermission time the lights were turned up and Laure wanted to get up and move around but Frank pushed her back down, a little roughly Laure thought, but then she remembered that the ugly thug Tony was watching.

Seemingly from out of nowhere Louise Brooks came rushing down the row of seats and pulled Laure up from her seat to hug her. She had moved quickly and no one had seen her coming, not even Tony, who stood up and put his hand inside his coat and rested it on his gun. Tony noticed Frank did the same and Buster took Louise by the shoulders and moved her away roughly. Louise had only been able to hug Laure and her hands were visible and empty the entire time so she could not have given anything to Laure. Buster took Louise by the arm and moved her down the row toward the aisle. When they reached the end of the row, Louise turned and slapped Buster’s face hard, then again. She loudly told him to keep his hands off her or she would call her friends in the police department and have him arrested.

Louise turned with an arrogant flounce and stormed her way to the exit. Tony saw the entire incident and did not see how Louise could have given anything to Laure. His only concern was that Laure should be frisked to make sure. From the rear of the auditorium, Dawn had observed everything. She was a Pinkerton-trained observer and saw what Tony did not see, that Laure had received the derringer. Louise had played her part perfectly. But then, Dawn thought, Louise was one of the best movie actresses in the business, she could hardly have done any less. Dawn spotted Tony watching and went to the drugstore’s public telephone to call Meghan and tell her what disguises she should bring for each of them. There was now another part for them to play.

Thursday, September 17, 2015

September 18th (that's tomorrow) special London Silent Film Meetup to see new Louise Brooks-inspired play

On Friday, September 18th (that's tomorrow), there is a special London Silent Film Meetup to see the new Louise Brooks-inspired play American Venus. The meet-up will take place at the 6 Frederick's Place, off the Old Jewry, London EC2R 8AB, London (map). More about the "Meetup" meetup organized by Amran V. can be found HERE.

More about the new play can be found on the September 2nd Louise Brooks Society blog entry HERE. How can you resist?

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