A cinephilac blog about an actress, silent film, and the Jazz Age, with occasional posts
about related books, music, art, and history written by Thomas Gladysz. Visit the
Louise Brooks Society™ at www.pandorasbox.com
Thursday, December 17, 2015
A Quick Study into the Present‐Day Location of the former Staaken Studios, by Philip Vorwald
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
Wednesday, December 16, 2015
Louise Brooks and Frankenstein
It is well known that director James Whale considered Louise Brooks for the title role in Bride of Frankenstein (1935). That part, of course, went to Elsa Lanchester. I can't imagine anyone else in the role. Lanchester was sexy and terrifying.
Did you know there is another connection between Brooks and the Frankenstein films. The original 1931 Frankenstein was also directed by Whale, and, it had an uncredited scenario by John Russell, who also penned the scenario for Brooks' first film, The Street of Forgotten Men (1925). Russell certainly did a lot of interesting work.
Did you know there is another connection between Brooks and the Frankenstein films. The original 1931 Frankenstein was also directed by Whale, and, it had an uncredited scenario by John Russell, who also penned the scenario for Brooks' first film, The Street of Forgotten Men (1925). Russell certainly did a lot of interesting work.
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
Tuesday, December 15, 2015
Is Louise Brooks pictured in a 1927 Our Gang short?
For some time now, there has been word going round that a newspaper image of Louise Brooks can be seen in the 1927 Our Gang short, Ten Years Old. This 22 minute film centers on Joe and his tenth birthday and the cake he makes for himself. The usual Our Gang mirth and mayhem ensues.
A few short excerpts of Ten Years Old can be found online. I managed to track down the entire film through realclassicsdvd.com, and bought a copy to see for myself. I took a look, and spotted the image at the center of the long running speculation.
Early on, Joe makes himself a party hat from a old newspaper. And on that newspaper is the image in question. It is just a Louise Brooks look-alike, and not the actress, in my opinion. What do you think? Here is a screen capture.
A few short excerpts of Ten Years Old can be found online. I managed to track down the entire film through realclassicsdvd.com, and bought a copy to see for myself. I took a look, and spotted the image at the center of the long running speculation.
Early on, Joe makes himself a party hat from a old newspaper. And on that newspaper is the image in question. It is just a Louise Brooks look-alike, and not the actress, in my opinion. What do you think? Here is a screen capture.
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
Monday, December 14, 2015
More True Confessions: Pics from the Louise Brooks Society (part 2)
Here are yet more images from the 20 year history of the Louise Brooks Society. Launched in 1995, the LBS was one of
the first websites devoted to silent film or a silent film star. Only a
few pages at first, the LBS has grown, and so has its acclaim as a
resource for fans of Louise Brooks as well as early cinema. Check it out at www.pandorasbox.com
c
And look where this book showed up - on the hit television show Lost. |
I put on an event with the acclaimed poet Mary Jo Bang when her LB inspired book of poems Louise in Love was published in 2001. |
I produced this triptych of limited edition autographed broadsides celebrating Mary Jo Bang's book and featuring Brooks' imagery. |
My wife and I had the pleasure of visiting the then George Eastman House in Rochester, NY to see the LB centennial exhibit. What a great experience. |
I got to know Bruce Conner after he visited a small exhibit about the actress which I put on in a San Francisco cafe some years ago. Conner left this note in the exhibit guest book. Later, when I visited him at his home in San Francisco, he expanded on this anecdote. |
When I introduced Diary of a Lost Girl in Paris in 2009, fans of the actress (alas not me) lined up around the block. |
I've had the pleasure of meeting a few fellow fans, like the charming English dressmaker Irma Romero. |
I also had the pleasure of meeting actor Paul McGann, who is also a big Louise Brooks' fan. McGann, who was the Eighth Doctor Who, even told me he listened to RadioLulu. |
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
Sunday, December 13, 2015
More True Confessions: Pics from the Louise Brooks Society (part 1)
Here are some more images from the 20 year history of the Louise Brooks Society. Launched in 1995, the LBS was one of
the first websites devoted to silent film or a silent film star. Only a
few pages at first, the LBS has grown, and so has its acclaim as a
resource for fans of Louise Brooks as well as early cinema. Check it out at www.pandorasbox.com
Thank you for reading this blog. Check back for tomorrow's post and more groovy pics from the 20 year history of the Louise Brooks Society.
With author Barry Paris in 2000, at the LBS co-sponsored event celebrating the new edition of the Barry Paris biography of the actress (which the LBS helped bring back into print). |
Introducing Pandora's Box at the Detroit Institute of the Arts in 2006, the year which marked the Louise Brooks centennial. |
With William Wellman Jr., whose Father directed the 1928 Louise Brooks' film Beggars of Life. Wellman Jr. told me his Father adored Louise Brooks. |
One view of the 2006 LBS sponsored Louise Brooks exhibit at the San Francisco Public Library marking the actress centennial. |
Another view of the 2006 LBS sponsored Louise Brooks exhibit at the San Francisco Public Library. |
A long time ago with the Pulitzer Prize winning film critic Roger Ebert, who told me he used the Louise Brooks Society website to research Pandora's Box and Diary of a Lost Girl. |
In 2006, with film critic Peter Cowie, author of Louise Brooks: Lulu Forever. |
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
Saturday, December 12, 2015
True Confession: I've Been Stalking Louise Brooks for 20 years
An early VHS copy of Pandora's Box from a time when this was the only way to see a Louise Brooks' film |
I hadn't
heard of the film -- nor its star. What peaked my interest was the text on the back
of the VHS, "censored because of its explicit sexuality." With it
being a Friday night, and with me having nothing in particular to do, an erotic
film -- even though it was from more than sixty years old -- seemed ok to me.
I watched that
film that night as if in a dream. Who was this Louise Brooks? And how had I
never heard of her? The questions ricocheted through me. I couldn't believe what
I was seeing. How could such an actress -- such a woman even, be possible? I
went to bed that night confused, in a daze. And I got up the next morning and
watched Pandora's Box all
over again. I had to. The rental tape was due later that day, and, I really,
really, really wanted to watch it again. Anyways, I simply had to come to grips
with what I had experienced the night before. Like her victims in Pandora's Box, I was in the thrall
of Lulu.
Excited by the
movie and this actress "I had discovered" -- that was how I felt, I
asked everyone I could about Louise Brooks. "She is beautiful. She has
short dark hair, like a helmet. She was in this silent film called Pandora's Box. She played
Lulu. . . ." Friends, family, people I knew who were into film -- no one really
seemed to know much about her until a co-worker recalled there had been a
biography. A book. A place to start!
A first edition copy of the Barry Paris biography of Louise Brooks |
Aren't we
all smitten with an actor or actress sometime in our life? Don't we all have a
secret crush on some cute starlet or some handsome hunk? Don't we want to see
every film starring our favorite? Haven't film buffs all saved a picture or
magazine clipping for no particular reason known only to ourselves? I figured
there must be others out there who appreciated Louise Brooks like I did. I was
eager to talk with others about her. But who might they be? How could I find
them? Was there a group?
I went back
to the library and asked at the reference desk if there was a directory of fan
clubs, and much to my surprise, there was. I scoured its many pages of small
type. There were thousands of fan clubs: there were groups for Laurel and
Hardy, Marilyn Monroe, John Wayne and for dozens of other contemporary stars
and entertainers I couldn't believe anyone cared about. Disappointed, I didn't find
any for Louise Brooks.
All this --
renting Pandora's Box,
asking everyone I knew about Louise Brooks, finding the biography of the
actress -- was back when the world wide web was just getting started. Up until
then, the internet was largely text and made up of places like Prodigy, The
Well, UseNet groups, BBS and AOL. I had been online for a few years, and
explored each. I even once telnet into the Berkeley Public Library. But now --
around 1994 and 1995, the web was going graphical, and anyone who could figure
out HTML could make their own website.
That's when
I had an idea. Why not make a webpage about Louise Brooks? Or better yet, why
not make a multi-page website, and post some of the material about the actress
I had started to gather. I might even "meet" others who shared my
interest. That's when I decided to form the Louise Brooks Society,
what I called a "virtual fan club in cyberspace." Eventually, I
secured the domain pandorasbox.com.
Thanks to my
brother, who was a computer engineer and who helped me figure out Hypertext Markup Language, I posted my
first web pages. This was in the summer and fall of 1995. The Louise Brooks Society had begun.
LBS director Thomas Gladysz and Academy Award honoree Kevin Brownlow |
Soon enough,
the Louise Brooks Society started to take off. I remember being excited when my
hit counter read triple digits. Quickly, visitors were counted in the thousands
and then tens of thousands, and then hundreds of thousands. In 1996, USA Today named the Louise
Brooks Society a "Hot Site," noting "Silent-film buffs can get a
taste of how a fan club from yesteryear plays on the Web. The Louise Brooks
Society site includes interviews, trivia and photos. It also draws an
international audience." A few years later, the New York Times described it as an "excellent homage to the art of the silent film as well
as one of its most luminous stars."
In 1998, the
popularity of my virtual fan club in cyberspace got noticed by Turner Classic
Movies. The cable station devoted to classic films decided to commission a
documentary about Louise Brooks. An article on the Wired website, "FanSite Sparks Biopic", quoted a TCM spokesman who said the level
of interest in the Louise Brooks Society convinced the network to go ahead with
the documentary and an evening of the actress' films. "The Web presence
for Louise Brooks was overwhelming. It was definitely a driving force in convincing
the network to produce this documentary."
At the San Francisco Public Library exhibit |
I have always been the scholarly type, and always thought that I wanted the Louise Brooks Society to be more than just a fan club. I wanted to do something. I see the mission of the society as one of honoring the actress by stimulating interest in her life and films. To that end, I have compiled bibliographies on the actress and her films which if printed out would run hundreds of pages. I have also written a couple of hundred articles and a couple of thousand blogs about Louise Brooks. In 2010, I wrote the introduction and edited the of Diary of a Lost Girl, the once controversial novel that was the basis for the 1929 film. Co-published by the Louise Brooks Society, it was this significant book's first English publication in more than 100 years. Recently, I provided the audio commentary for the new Kino Lorber DVD & Blu-ray of Diary of a Lost Girl.
The Louise
Brooks Society also has its own online radio station, RadioLulu,
which streams Louise Brooks and silent-film related music of the 1920's, 1930's
and today. Musical purists have complained, but I can't help but include some
of the contemporary rock and pop songs about the actress by the likes of Orchestral
Manoeuvres in the Dark (OMD), Soul Coughing, Rufus Wainwright, NatalieMerchant, and others.
Something
that the website does is track and promote the many homage to
the actress not only in music but in movies, fiction, comic books, the visual arts
and popular culture. Did you know there was a street named after Louise Brooks
in Paris, as well as a French perfume? The actress shows up in books by Neil
Gaiman and Paul Auster and Salman Rushdie, has been mentioned on The Simpsons, and pops up in
movies ranging from Hugo
to Blue is the Warmest Color.
The current staging of Alban Berg's opera, Lulu, at the Met in New York City owes a littlesomething to Louise Brooks.
Over the
years, the Louise Brooks Society has mounted exhibits and sponsored author
talks and screenings. One of the group's great accomplishments took place in
the year 2000. At the time, both Louise Brooks' own book, Lulu in Hollywood, as well as
the Barry Paris biography which I loved had fallen out of print. The LBS
mounted a grass roots campaign to bring them back. And it worked. The
University of Minnesota Press reissued both books, and acknowledged the LBS in
each. At one point, the press told me those two books were among their bestselling
titles.
I didn't do
it all by myself. The members of the Louise Brooks Society -- which I number at
about 1500 from 50 countries on six countries -- have contributed in all manner
of ways. Individuals from around the world have sent pictures and clippings and
rare pieces of memorabilia, provided translations of non-English materials, and
helped in other ways.
With English fan Meredith Lawrence (left) |
Looking
back, that chance encounter some 20 years ago with an old film started me off
on a kind of journey into the heart of the Jazz Age. These days, I am interested
in not only Louise Brooks but also silent film, Weimar Germany, Denishawn, Twenties
Jazz, and more. Those interests all started with Louise Brooks. One thing would
lead to another.
Louise Brooks
was a pretty big star in the late 1920s. She was world famous for about five
years. But then it all ended. She went to Europe to make films, including Pandora's Box and Diary of a Lost Girl, the two
for which she is best known today. When she returned, Hollywood didn't want her
anymore. Sound came in, and her Jazz Age impertinence and sleek black bob
seemed out of place in Depression-era America. She tried to make a comeback,
but ended up quitting films, twice. Louise Brooks and her 24 films would be
largely forgotten.
Eventually,
she returned to New York City where her showbiz career had begun. She lived
there anonymously, broke, drinking, living the life of a barfly, a once famous
movie star working behind the counter at a department store; and, while she
still had her looks, she may or may have not escorted gentlemen on dates. Can
you image what they must have thought had they realized who they were with?
All the
while, Louise Brooks had begun to write -- observations, memories, articles,
essays. Once derided as a brainy showgirl, she emerged late in life as an
articulate and acerbic writer and memoirist. F. Scott Fitzgerald, whom she once
met, wrote something about there being no second acts in American lives. Brooks
proves the exception. After decades of obscurity, she emerged late in life as
an acclaimed author and thoughtful commentator on film.
Signing books at the Niles Essanay Silent Film Museum |
Though she
left her mark on her time, Brooks always thought of herself as a failure. In
his biography, Barry Paris quotes a letter the actress wrote to her brother, "I
have been taking stock of my 50 years since I left Wichita in 1922 at the age
of 15 to become a dancer with Ruth St. Denis and Ted Shawn. How I have existed
fills me with horror. For I have failed in everything—spelling, arithmetic,
riding, swimming, tennis, golf, dancing, singing, acting, wife, mistress,
whore, friend. Even cooking. And I do not excuse myself with the usual escape
of 'not trying.' I tried with all my heart."
There is a mystery
at the heart of Louise Brooks and her story that goes a long-way toward
explaining why she thought herself a failure and why others find her so
fascinating.
I have
wondered, and others have asked me, why I am so obsessed with Louise Brooks. I don't
know. I think it is because I want others to know she wasn't a failure. Deep
down, I suspect I somehow want to save her, to rescue her. But to save her from
what I am not sure. Perhaps it is from being forgotten. She often played
imperiled women, and that can bring out the rescue impulse in fans and admirers.
If that is the case with me, all I can do is try.
Barry Paris inscribed this copy of his biography: "For Thomas -- who resurrected me & LB the way Tynan did in The New Yorker!" |
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
Friday, December 11, 2015
Diary of a Lost Girl (book and DVD) starring Louise Brooks
If you are still looking for just the right gift for the Louise Brooks or silent film fan on your holiday list, may I suggest Diary of the Lost Girl, either the "Louise Brooks edition" of the book that was the basis for the film, or the recently released Kino Lorber DVD or Blu-ray. (Send me your order for both items within the next five minutes and you will receive an autographed copy of each item plus free shipping -- please indicate which format disc you prefer. Offer valid only in the United States.)
Need some convincing? Here are some of the reviews for each item. Don't hesitate. Quantities are limited!
“Most certainly a book for all you Louise Brooks fans out there! And silent cinema fans as well.” – Bristol Silents (UK)
“In today’s parlance this would be called a ‘movie tie-in edition,’ but that seems a rather glib way to describe yet another privately published work that reveals an enormous amount of research — and passion.” – Leonard Maltin, Movie Crazy
“You’ve done a beautiful thing.” – Barry Paris, author of Louise Brooks
“Read today, it’s a fascinating time-trip back to another age, and yet remains compelling.” – Jack Garner, Rochester Democrat and Chronicle
“It was such a pleasure to come upon your well documented and beautifully presented edition.” – Elizabeth Boa, University of Nottingham (UK)
“Long relegated to the shadows, Margarete Böhme’s 1905 novel, The Diary of a Lost Girl has at last made a triumphant return. In reissuing the rare 1907 English translation of Böhme’s German text, Thomas Gladysz makes an important contribution to film history, literature, and, in as much as Böhme told her tale with much detail and background contemporary to the day, sociology and history. This reissue is long overdue, and in all ways it is a volume of uncommon merit.” – Richard Buller, author of A Beautiful Fairy Tale: The Life of Actress Lois Moran
“An amazing forward that chronicles the history of Margarete Bohme’s book … a must for any silent film fan.” — silenthollywood.com
“Historian Thomas Gladysz has done the silent film community an interesting service: He has made available the original English translation of Margaret Bohme’s novel, The Diary of a Lost Girl. To fans of the beautiful actress Louise Brooks, this is a significant contribution indeed. What makes this new book so appealing is the way in which Mr. Gladysz has presented the vintage material. Featuring a scholarly introduction and numerous, wonderfully reproduced stills and rare advertisements, it is a pleasure to behold. It is also obviously a labor of love.” – Lon Davis, author of Silent Lives
"In this masterful restoration, from archival 35 mm elements, DIARY benefits from an incisive commentary by the director of the Louise Brooks Society Thomas Gladysz." -- Stephen Schaefer, Boston Herald
"This DVD is the best possible restored version, and is beautiful in its imagery, and in Brooks' performance. This new release also benefits from a well-researched and often-fascinating commentary track by Thomas Gladysz, director of the Louise Brooks Society." -- Jack Garner, Rochester Democrat and Chronicle
"The Kino blu ray is a beautiful high def transfer.... The insightful audio commentary by Thomas Gladysz offers a wealth of fascinating information about the movie and about Ms. Brooks." -- James L. Neibaur, examiner.com
"G.W. Pabst’s silent German classic is intact, restored and looking great.... Thomas Gladysz’s commentary is thorough and informative." -- Glenn Erickson, trailersfromhell.com
"... a beautiful and masterfully made social drama. ... New to this edition is commentary by Thomas Gladysz, film historian and director of the Louise Brooks Society." -- Sean Axmaker, www.cinephiled.com
"Diary of a Lost Girl was another torrid, atmospheric collaboration between American actress Louise Brooks and German director G. W. Pabst. The Kino Classics Blu-ray presents the film in a meticulous digital restoration to savor. Recommended.... The disc includes a feature-length Audio Commentary from scholar Thomas Gladysz, director of the long-standing website The Louise Brooks Society. This was a good, informative track revealing lots of interesting tidbits about the production, the lives of the other actors seen on screen, and Brooks' own recollections on the making of the film." -- Matt Hinrichs, DVDtalk
"Thomas Gladysz, director of the Louise Brooks Society, discusses the ambiguous nature of Georg Wilhelm Pabst's Diary of a Lost Girl, the film's visual style and its impressionistic aura, the relationships between the main characters, interesting details from the lives and careers of some of the principal actors, etc." -- Dr. Svet Atanasov, blu-ray.com
"The results are often excellent, with increased image detail that surpasses our hopes for this edition.... The supplementary material includes a new audio commentary by Thomas Gladysz, director of the Louise Brooks Society." -- Carl Bennett, silentera.com
"Diary of a Lost Girl' is a haunting work of filmmaking that I am very glad to see has made its way to Blu-ray in fine form.... Director of the Louise Brooks Society, Thomas Gladysz provides an interesting look at the film, discussing the style of the film, it's reception as well as some of the production details that are known about the film. A solid listen, especially if you're at all interested in learning more about Brooks herself." -- Matthew Hartman, High-Def Digest
"The movie is subtle and spellbinding—qualities not obvious in inferior prints. Like the earlier disc, it includes Brooks’ unremarkable comedy Windy Riley Goes Hollywood, a talkie short in lousy shape. A new extra is an informative commentary by historian Thomas Gladysz." -- Michael Barrett, popmatters
"If you think you’ve seen sordid, a characterization meant as a compliment, do not go through your movie life without seeing this second of two masterpieces that were filmed in almost boom-boom fashion by Germany’s G.W. Pabst — both starring misused-by-Hollywood Louise Brooks, whose legend is based near-exclusively on these collaborations. The most you can say against Diary of a Lost Girl is to concede its ranking just a sliver behind the previous year’s teaming on Pandora’s Box — that one about as good as the movies get." -- Mike Clark, HomeMedia Magazine
"Brooks is a remarkable screen presence, lighting up Diary's tale of an innocent girl taken advantage of by men and then punished for it.... It would be rare when any film ever was as good as the silent greats at their best, films like this one." -- Michael Giltz, HuffingtonPost
"After “Pandora’s Box,” director G.W. Pabst and actress Louise Brooks teamed up for one of the most stunning melodramas of the silent era. Beautifully restored to its original running time, the Berlin-shot film follows a naive pharmacist’s daughter as she is seduced and abandoned by her father’s assistant. Placed in a horrific home for wayward girls, she escapes only to wind up in a brothel. Way ahead of its time, “Diary” tackles provocative themes of sexuality and exploitation while providing Brooks with a role that helped defined her career. Extras: commentaries and a Brooks short from 1931." -- Amy Longsdorf, Delaware County Daily Times
Need some convincing? Here are some of the reviews for each item. Don't hesitate. Quantities are limited!
The Diary of a Lost Girl (book)
“Most certainly a book for all you Louise Brooks fans out there! And silent cinema fans as well.” – Bristol Silents (UK)
“In today’s parlance this would be called a ‘movie tie-in edition,’ but that seems a rather glib way to describe yet another privately published work that reveals an enormous amount of research — and passion.” – Leonard Maltin, Movie Crazy
“You’ve done a beautiful thing.” – Barry Paris, author of Louise Brooks
“Read today, it’s a fascinating time-trip back to another age, and yet remains compelling.” – Jack Garner, Rochester Democrat and Chronicle
“It was such a pleasure to come upon your well documented and beautifully presented edition.” – Elizabeth Boa, University of Nottingham (UK)
“Long relegated to the shadows, Margarete Böhme’s 1905 novel, The Diary of a Lost Girl has at last made a triumphant return. In reissuing the rare 1907 English translation of Böhme’s German text, Thomas Gladysz makes an important contribution to film history, literature, and, in as much as Böhme told her tale with much detail and background contemporary to the day, sociology and history. This reissue is long overdue, and in all ways it is a volume of uncommon merit.” – Richard Buller, author of A Beautiful Fairy Tale: The Life of Actress Lois Moran
“An amazing forward that chronicles the history of Margarete Bohme’s book … a must for any silent film fan.” — silenthollywood.com
“Historian Thomas Gladysz has done the silent film community an interesting service: He has made available the original English translation of Margaret Bohme’s novel, The Diary of a Lost Girl. To fans of the beautiful actress Louise Brooks, this is a significant contribution indeed. What makes this new book so appealing is the way in which Mr. Gladysz has presented the vintage material. Featuring a scholarly introduction and numerous, wonderfully reproduced stills and rare advertisements, it is a pleasure to behold. It is also obviously a labor of love.” – Lon Davis, author of Silent Lives
Diary of a Lost Girl (DVD / Blu-ray)
"In this masterful restoration, from archival 35 mm elements, DIARY benefits from an incisive commentary by the director of the Louise Brooks Society Thomas Gladysz." -- Stephen Schaefer, Boston Herald
"This DVD is the best possible restored version, and is beautiful in its imagery, and in Brooks' performance. This new release also benefits from a well-researched and often-fascinating commentary track by Thomas Gladysz, director of the Louise Brooks Society." -- Jack Garner, Rochester Democrat and Chronicle
"The Kino blu ray is a beautiful high def transfer.... The insightful audio commentary by Thomas Gladysz offers a wealth of fascinating information about the movie and about Ms. Brooks." -- James L. Neibaur, examiner.com
"G.W. Pabst’s silent German classic is intact, restored and looking great.... Thomas Gladysz’s commentary is thorough and informative." -- Glenn Erickson, trailersfromhell.com
"... a beautiful and masterfully made social drama. ... New to this edition is commentary by Thomas Gladysz, film historian and director of the Louise Brooks Society." -- Sean Axmaker, www.cinephiled.com
"Diary of a Lost Girl was another torrid, atmospheric collaboration between American actress Louise Brooks and German director G. W. Pabst. The Kino Classics Blu-ray presents the film in a meticulous digital restoration to savor. Recommended.... The disc includes a feature-length Audio Commentary from scholar Thomas Gladysz, director of the long-standing website The Louise Brooks Society. This was a good, informative track revealing lots of interesting tidbits about the production, the lives of the other actors seen on screen, and Brooks' own recollections on the making of the film." -- Matt Hinrichs, DVDtalk
"Thomas Gladysz, director of the Louise Brooks Society, discusses the ambiguous nature of Georg Wilhelm Pabst's Diary of a Lost Girl, the film's visual style and its impressionistic aura, the relationships between the main characters, interesting details from the lives and careers of some of the principal actors, etc." -- Dr. Svet Atanasov, blu-ray.com
"The results are often excellent, with increased image detail that surpasses our hopes for this edition.... The supplementary material includes a new audio commentary by Thomas Gladysz, director of the Louise Brooks Society." -- Carl Bennett, silentera.com
"Diary of a Lost Girl' is a haunting work of filmmaking that I am very glad to see has made its way to Blu-ray in fine form.... Director of the Louise Brooks Society, Thomas Gladysz provides an interesting look at the film, discussing the style of the film, it's reception as well as some of the production details that are known about the film. A solid listen, especially if you're at all interested in learning more about Brooks herself." -- Matthew Hartman, High-Def Digest
"The movie is subtle and spellbinding—qualities not obvious in inferior prints. Like the earlier disc, it includes Brooks’ unremarkable comedy Windy Riley Goes Hollywood, a talkie short in lousy shape. A new extra is an informative commentary by historian Thomas Gladysz." -- Michael Barrett, popmatters
"If you think you’ve seen sordid, a characterization meant as a compliment, do not go through your movie life without seeing this second of two masterpieces that were filmed in almost boom-boom fashion by Germany’s G.W. Pabst — both starring misused-by-Hollywood Louise Brooks, whose legend is based near-exclusively on these collaborations. The most you can say against Diary of a Lost Girl is to concede its ranking just a sliver behind the previous year’s teaming on Pandora’s Box — that one about as good as the movies get." -- Mike Clark, HomeMedia Magazine
"Brooks is a remarkable screen presence, lighting up Diary's tale of an innocent girl taken advantage of by men and then punished for it.... It would be rare when any film ever was as good as the silent greats at their best, films like this one." -- Michael Giltz, HuffingtonPost
"After “Pandora’s Box,” director G.W. Pabst and actress Louise Brooks teamed up for one of the most stunning melodramas of the silent era. Beautifully restored to its original running time, the Berlin-shot film follows a naive pharmacist’s daughter as she is seduced and abandoned by her father’s assistant. Placed in a horrific home for wayward girls, she escapes only to wind up in a brothel. Way ahead of its time, “Diary” tackles provocative themes of sexuality and exploitation while providing Brooks with a role that helped defined her career. Extras: commentaries and a Brooks short from 1931." -- Amy Longsdorf, Delaware County Daily Times
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
Wednesday, December 9, 2015
Notes on Louise Brooks' notebooks
As the three previous blogs note, I recently took the opportunity to visit Rochester, NY and its world famous George Eastman Museum. The purpose of my visit -- a trip five years in the planning -- was to spend time at the museum with which Louise Brooks was closely associated for many years.
Back in October of 2010, I published a piece on examiner.com titled "Louise Brooks Journals to be Revealed, and Perhaps Published". My piece was occasioned by the announcement by the then George Eastman House that it had unsealed Brooks' private notebooks. Before her death, the actress had bequeathed her notebooks to the museum with instructions they remain sealed for 25 years. That was five years ago. This was my first opportunity to check out the notebooks for myself.
As my 2010 article stated, "Brooks kept journals from 1956 until her death in 1985. According to an Eastman House archivist, there are 29 research journals -- which contain her notes and thoughts while she conducted research for her book and other writing projects -- ranging in size from 20 to 120 pages. All together, these working journals approach 2000 pages of hand-written text. Notably, Brooks went back and reworked material in various notebooks over the years. She also added a table of contents to the cover of each volume."
I enlisted the help of Rochester resident Tim Moore, and allotted myself two and one-half days to read / skim / survey the material -- which literally was nearly 2000 pages of mostly handwritten, sometimes difficult to read material. There was also some typewritten material inserted into binders or pasted onto the pages of the notebooks. After I was done, I felt I barely scratched the surface.
The material in the notebooks is largely just that -- notes. More than anything, Brooks compiled filmographies of many of the leading movie personalities of her time (this was in the day before IMDb, as well as before many of the film books we know were even published -- think the ubiquitous "The Films of ....." series). One almost gets the impression that Brooks had the idea to write some sort of grand history of film as a way of understanding her small part in its history.
Brooks also listed and took notes from the books she was reading. Often times she would transcribe passages out of biographies, memoirs, and film histories. Brooks recorded the titles of many if not most of the films she viewed and where she saw them, either at the Eastman House or on television. (Back in the late 1950s and early 1960s, silent films and films from the early 1930's turned up on broadcast TV more often than they do today.) The actress also recorded key information about each film -- year of release, director, actor -- along with her thoughts on what she had seen.
There are passages on the Talmadge sisters, Garbo, Pola Negri, Clara Bow, Marion Davies, Tallulah Bankhead, Leni Riefenstahl, Humphrey Bogart, Grace Moore, Shirley MacLaine and Warren Beatty, and numerous others -- along with encounters with director Jean Renoir (at a party in Paris in the 1950s) and Roddy McDowell (when the actor came to her apartment to photograph her). In the margin, Brooks' recorded the fact that G.W. Pabst had called her on the telephone while she was living in New York City in 1948.
Brooks watched films by D.W. Griffith and Erich von Stroheim (her opinion on the director changed over time), as well as those starring Marlene Dietrich, like The Blue Angel and I Kiss Your Hand Madame. She also saw Dinner at Eight, William Wellman's The Public Enemy, and G.W. Pabst's Threepenny Opera. On October 29, 1959 she saw Empty Saddles, a 1936 B-western in which she had a supporting role. Brooks wrote "First film I ever heard my voice." Brooks was also taken with John Barrymore's performance in Maytime (1937). There were others, many others.
Brooks watched television programs and listened to the radio. If something stood out, she noted it. On September 28, 1960 she recorded watching Fred Astaire on NBC. Brooks also noted having seen the poet W.H. Auden on television in 1958 (two pages of her commentary on Auden followed), or listening to a local radio program on the critic H.L. Mencken. She also seemed to have a liking for Mitch Miller, and recorded hearing him on the radio at least a couple of times.
On occasion, Brooks was also a list maker. There was one listing the twelve painting she had completed up to that time. There was another listing books she intended to read about the 1920s. There was one noting "geniuses I have known: Chaplin, Gershwin, Graham, Thalberg, Gish, Garbo". There was another from the early 1970's listing where she had lived and for how long:
"18 Kansas
21 New York
9 Hollywood
16 Rochester
1 Europe - Chicago"
The notebooks also contain a number of clipping, which most often were obituaries of individuals she had known, including actor Addison (Jack) Randall, NYMoMA film curator Iris Barry, dancer Ruth St. Denis, and others. Usually, these clipping came from either Variety or TIME magazine, which she seems to have had regular access to. (Brooks also seems to have had access to a run of past issues of Photoplay magazine, as she often cites it.)
Brooks read a book about the composer George Gershwin, someone she first met and flirted with during her brief time with the George White Scandals, and recorded and dated an impressionistic memory: "at Scandals 1924 rehearsals George took off coat -- played in vest -- sometimes with a cigar in his mouth LB 1968". In her notebooks, she took notes on Gershwin's upbringing, on his many compositions, and on his early death on July 11, 1937, adding in parenthesis "[Two weeks before at the Clover Club George asked me to dance and seemed brilliantly healthy.]"
There was a good deal of surprising material. For a while, Brooks was deeply interested in existentialism, which was in vogue in the 1960s. She recorded reading a couple of books on the subject, as well as one or two by Jean Paul Sartre. She disliked Simone de Beauvoir, and said so in the pages of her notebooks. [Curiously, Sartre records in his own journals that one of his very first dates with de Beauvoir was when he took her to see A Girl in Every Port, which co-starred Brooks.]
Brooks also wrote her observations on Elizabeth Taylor and on Marilyn Monroe, thoughts on George Raft, and pasted in a clipping on Andy Warhol. She watched television coverage of Queen Elizabeth's 1957 visit to the United States and Canada, and wrote pages and pages about it. She also wrote many pages of material on Henry Kissinger, the Kennedys, and Zen thinker Alan Watts (which tied into her interest in existentialism). English writers John Ruskin and Lewis Carroll, and American novelists F. Scott Fitzgerald and Ernest Hemingway are also referenced time and again.
One of the binders which the Eastman House inherited from Brooks contains even earlier notes, loose leaf pages dating from as early as the 1940s. There are pages and pages of notes on the French philosopher Henri Bergson from 1941, on the English writer George Meredith from 1943, on Lord Byron and the qualities of great poetry from 1948, on Gandhi's Autobiography from 1949, on the letters of Marcel Proust from 1955. There are also scattered notes on art, and on modern painters.
Considering Brooks may never have achieved her high school degree (she left to join Denishawn after her sophomore year in school), these notebooks reflect an intellectually curious mind. Brooks was striving to understand. She was fascinated by authority figures -- either spiritual or political or literary or cinematic or romantic. George Bernard Shaw was a major obsession. It seems to me, Brooks attempted to understand the world and herself through the pages of literature, and in the biographies and histories of great individuals and momentous times. Her notebooks are a record of her striving.
I also came across this recipe: "Brooks' cookies 18 March 1973"
1 stick butter
1 cup brown sugar
2 eggs
1 table spoon milk
2 cups flour
2 tsp baking powder
1/4 tsp salt
dates and nuts. lemon rind
350 degrees 45 minutes cut to squares
During my two and a half days reading Brooks' notebooks, I took lots of notes, and transcribed a few passages. That is all researchers may do. (Recording devices like scanners or cameras are not allowed.) The material above represents a summation of my notes.
Back in October of 2010, I published a piece on examiner.com titled "Louise Brooks Journals to be Revealed, and Perhaps Published". My piece was occasioned by the announcement by the then George Eastman House that it had unsealed Brooks' private notebooks. Before her death, the actress had bequeathed her notebooks to the museum with instructions they remain sealed for 25 years. That was five years ago. This was my first opportunity to check out the notebooks for myself.
As my 2010 article stated, "Brooks kept journals from 1956 until her death in 1985. According to an Eastman House archivist, there are 29 research journals -- which contain her notes and thoughts while she conducted research for her book and other writing projects -- ranging in size from 20 to 120 pages. All together, these working journals approach 2000 pages of hand-written text. Notably, Brooks went back and reworked material in various notebooks over the years. She also added a table of contents to the cover of each volume."
I enlisted the help of Rochester resident Tim Moore, and allotted myself two and one-half days to read / skim / survey the material -- which literally was nearly 2000 pages of mostly handwritten, sometimes difficult to read material. There was also some typewritten material inserted into binders or pasted onto the pages of the notebooks. After I was done, I felt I barely scratched the surface.
Inside the Eastman Museum, where I read Louise Brooks' notebooks |
Brooks also listed and took notes from the books she was reading. Often times she would transcribe passages out of biographies, memoirs, and film histories. Brooks recorded the titles of many if not most of the films she viewed and where she saw them, either at the Eastman House or on television. (Back in the late 1950s and early 1960s, silent films and films from the early 1930's turned up on broadcast TV more often than they do today.) The actress also recorded key information about each film -- year of release, director, actor -- along with her thoughts on what she had seen.
There are passages on the Talmadge sisters, Garbo, Pola Negri, Clara Bow, Marion Davies, Tallulah Bankhead, Leni Riefenstahl, Humphrey Bogart, Grace Moore, Shirley MacLaine and Warren Beatty, and numerous others -- along with encounters with director Jean Renoir (at a party in Paris in the 1950s) and Roddy McDowell (when the actor came to her apartment to photograph her). In the margin, Brooks' recorded the fact that G.W. Pabst had called her on the telephone while she was living in New York City in 1948.
Brooks watched films by D.W. Griffith and Erich von Stroheim (her opinion on the director changed over time), as well as those starring Marlene Dietrich, like The Blue Angel and I Kiss Your Hand Madame. She also saw Dinner at Eight, William Wellman's The Public Enemy, and G.W. Pabst's Threepenny Opera. On October 29, 1959 she saw Empty Saddles, a 1936 B-western in which she had a supporting role. Brooks wrote "First film I ever heard my voice." Brooks was also taken with John Barrymore's performance in Maytime (1937). There were others, many others.
Brooks watched television programs and listened to the radio. If something stood out, she noted it. On September 28, 1960 she recorded watching Fred Astaire on NBC. Brooks also noted having seen the poet W.H. Auden on television in 1958 (two pages of her commentary on Auden followed), or listening to a local radio program on the critic H.L. Mencken. She also seemed to have a liking for Mitch Miller, and recorded hearing him on the radio at least a couple of times.
On occasion, Brooks was also a list maker. There was one listing the twelve painting she had completed up to that time. There was another listing books she intended to read about the 1920s. There was one noting "geniuses I have known: Chaplin, Gershwin, Graham, Thalberg, Gish, Garbo". There was another from the early 1970's listing where she had lived and for how long:
"18 Kansas
21 New York
9 Hollywood
16 Rochester
1 Europe - Chicago"
The notebooks also contain a number of clipping, which most often were obituaries of individuals she had known, including actor Addison (Jack) Randall, NYMoMA film curator Iris Barry, dancer Ruth St. Denis, and others. Usually, these clipping came from either Variety or TIME magazine, which she seems to have had regular access to. (Brooks also seems to have had access to a run of past issues of Photoplay magazine, as she often cites it.)
Brooks read a book about the composer George Gershwin, someone she first met and flirted with during her brief time with the George White Scandals, and recorded and dated an impressionistic memory: "at Scandals 1924 rehearsals George took off coat -- played in vest -- sometimes with a cigar in his mouth LB 1968". In her notebooks, she took notes on Gershwin's upbringing, on his many compositions, and on his early death on July 11, 1937, adding in parenthesis "[Two weeks before at the Clover Club George asked me to dance and seemed brilliantly healthy.]"
There was a good deal of surprising material. For a while, Brooks was deeply interested in existentialism, which was in vogue in the 1960s. She recorded reading a couple of books on the subject, as well as one or two by Jean Paul Sartre. She disliked Simone de Beauvoir, and said so in the pages of her notebooks. [Curiously, Sartre records in his own journals that one of his very first dates with de Beauvoir was when he took her to see A Girl in Every Port, which co-starred Brooks.]
Brooks also wrote her observations on Elizabeth Taylor and on Marilyn Monroe, thoughts on George Raft, and pasted in a clipping on Andy Warhol. She watched television coverage of Queen Elizabeth's 1957 visit to the United States and Canada, and wrote pages and pages about it. She also wrote many pages of material on Henry Kissinger, the Kennedys, and Zen thinker Alan Watts (which tied into her interest in existentialism). English writers John Ruskin and Lewis Carroll, and American novelists F. Scott Fitzgerald and Ernest Hemingway are also referenced time and again.
On the outside of the Rochester Public Library, which Brooks visited often. |
One of the binders which the Eastman House inherited from Brooks contains even earlier notes, loose leaf pages dating from as early as the 1940s. There are pages and pages of notes on the French philosopher Henri Bergson from 1941, on the English writer George Meredith from 1943, on Lord Byron and the qualities of great poetry from 1948, on Gandhi's Autobiography from 1949, on the letters of Marcel Proust from 1955. There are also scattered notes on art, and on modern painters.
Considering Brooks may never have achieved her high school degree (she left to join Denishawn after her sophomore year in school), these notebooks reflect an intellectually curious mind. Brooks was striving to understand. She was fascinated by authority figures -- either spiritual or political or literary or cinematic or romantic. George Bernard Shaw was a major obsession. It seems to me, Brooks attempted to understand the world and herself through the pages of literature, and in the biographies and histories of great individuals and momentous times. Her notebooks are a record of her striving.
I also came across this recipe: "Brooks' cookies 18 March 1973"
1 stick butter
1 cup brown sugar
2 eggs
1 table spoon milk
2 cups flour
2 tsp baking powder
1/4 tsp salt
dates and nuts. lemon rind
350 degrees 45 minutes cut to squares
During my two and a half days reading Brooks' notebooks, I took lots of notes, and transcribed a few passages. That is all researchers may do. (Recording devices like scanners or cameras are not allowed.) The material above represents a summation of my notes.
Cut into the sidewalk in Rochester, not far from Brooks' Goodman Street apartment and the Eastman Museum |
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
Monday, December 7, 2015
Snapshots from Louise Brooks' Rochester, NY (part 3)
I recently had the pleasure of visiting Rochester, New York in order to
conduct some research on Louise Brooks at the George Eastman House Museum. During my four day visit, I had the chance to meet friends, talk on the radio,
and walk the streets of a city Louise Brooks once called home. I also
spent two and a half days reading through Brooks' notebooks. (More on
that at a later date.)
While I was in Rochester, I had the chance to visit a few sites of interest to fans of Louise Brooks. My thanks to Rochester resident Tim Moore who was my valued guide. All of the snapshots below were taken by myself, unless otherwise noted. Here are yet more of them, in no particular order.
While I was in Rochester, I had the chance to visit a few sites of interest to fans of Louise Brooks. My thanks to Rochester resident Tim Moore who was my valued guide. All of the snapshots below were taken by myself, unless otherwise noted. Here are yet more of them, in no particular order.
The entrance of the old Sibley department store building, where Louise Brooks once encountered two-time co-star Richard Arlen (Rolled Stockings and Beggars of Life). |
Another view of the George Eastman House. No doubt, Brooks walked the path past the house many times. |
Brooks' grave in Rochester. The small picture of the actress was left by an earlier visitor. |
Thanks to Tim and Cathy for driving to the grave on a cold, rainy day. (Photo by Tim Moore.) |
Tim and Cathy provided the wreath. They were generous guides and are great fans. |
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
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