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"Louise Brooks is the only woman who had the ability to transfigure no
matter what film into a masterpiece. The poetry of Louise is the great
poetry of rare loves, of magnetism, of tension, of feminine beauty as
blinding as ten galaxial suns. She is much more than a myth, she is a
magical presence, a real phantom, the magnetism of the cinema." -- Ado Kyrou, author of Le Surréalisme Au Cinéma (1963)
It is known that the Surrealists took notice of Louise Brooks. She had the look - a bit transgressive (though they didn't use that word back then), and strikingly beautiful, but in an iconic, modern sense. It's known that Philipe Soupault, the French Surrealist poet, mentioned the actress in his journalism and even reviewed Diary of a Lost Girl. (A couple of images of the actress adorn the poet's collected writings on the cinema, Ecrits de cinema 1918-1931.)
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| Kiki of Montparnasse |
It's also known that Man Ray was smitten by the actress. His paramour in the 1920s, Kiki of Montparnasse, resembled Brooks. Man Ray first noticed Brooks in Paris in 1929 and 1930, when she was all the rage and her films, Prix de Beaute, Loulou, Diary of a Lost Girl, and Beggars of Life dominated Parisian screens. The photographer and the film star met in Paris in late 1958, when Brooks was being celebrated at the Cinematheque Francaise; at the time, Man Ray recounted how he had seen her image in Paris years before. The artist was fond enough of Brooks that he sent her a small painting in memory of their meeting and in memory of his memory.
The Louise Brooks film that might well have introduced the actress to the Surrealist was likely A Girl in Every Port, which writer Blaise Cendrars called "the first appearance of contemporary cinema". The film debuted in Paris at the Ursulines. The Ursulines theatre opened in 1926 with films by André Breton, Man Ray, Fernand Léger, René Clair and Robert Desnos, and over the years, showed both mainstream and experimental cinema. At one point, the theatre also showed G.W. Pabst's Diary of a Lost Girl, which starred Brooks and also enjoyed a successful run in Paris.
Perhaps Man Ray also saw A Girl in Every Port at the Ursulines when it shared the bill with a short Man Ray film, L'Etoile de Mer, during the months of October, November, and December of 1928. L'Etoile de Mer (The Starfish) was scripted by the surrealist poet Robert Desnos and stars Desnos and Alice Prin. Better known as Kiki de Montparnasse, Prin famously sported Louise Brooks-like bobbed hair and bangs.
The pairing in Paris of A Girl in Every Port with a Surrealist film was not a one-time thing. Something similar also took place in Barcelona, Spain -- as seen in the advertisement below when A Girl in Every Port (under the Catalonian title Una xicota a cada port) was paired with the Salvador Dali - Luis Bunuel film, Le Chein Ansalou (An Andalusian Dog). Notably, A Girl in Every Port is described as an avant-garde film.
I have written about the Surrealists and Brooks before, but mention it again because I have just today come across another connection - this time to Salvador Dali. If I understand it correctly, the Spanish book, Por qué se ataca a la gioconda? (Ediciones Siruela, 1994), collects Salvador Dali's miscellaneous writings. (The book was reissued by Ediciones Siruela in 2003.) According to the publisher: "From the early years, and especially in the moments of greatest creativity - between 1924 and 1945 -, Dalí worked in parallel in the fields of literature and painting, which together contribute to the creation of a universe of shapes and symbols that he will not leave until the end of his days. The texts collected in this anthology correspond to different times that go from 1927 to 1978; they were published in the French magazine Oui and this edition rescues them in their entirety. The chronological order of the articles makes it easier to follow the evolution of the artist's ideas. His obsessions are his main thematic source: eroticism, death and rot, which articulate a very peculiar universe appearing recurrently throughout his life. . . . In his writings he mixes philosophical ideas with seemingly irrelevant anecdotes and is also concerned with surrealism and some of its problems, such as object, automatism or dream, without neglecting other topics such as photography and cinema."
Por qué se ataca a la gioconda? contains a piece written in Paris in 1929. It is a surreal piece, touching on factual and the dreamlike. Dali's piece reads in part, "Transcurren dos minutos de intervalo. Sobre la hoja cae un granito de arena que permanece inmovil en el centro di la hoja. Los cinco minutos expiran sin otra modificacion. Rene Clair, el realizador del popular film de vanguardia Entr'acte, ha comenzado a filmar Prix de beaute, con Louise Brooks. Sera una peli cula documental sobre el desnudo de Louise Brooks. Rene Magrite acaba de terminnar un lienzo donde "hay" un personaje que se encuentra a punto de perder la memoria, un grito de pajaro, un armario y un paisaje."
In translation, it reads, "Two minutes apart. A grain of sand falls on the leaf and remains motionless in the center of the leaf. The five minutes expire without further modification. Rene Clair, the director of the popular avant-garde film Entr'acte, has begun filming Prix de beaute, starring Louise Brooks. It will be a documentary film about Louise Brooks' nude. Rene Magrite has just finished a canvas where "there is" a character who is about to lose his memory, a bird's cry, a closet and a landscape."
I will end this post with a chance discovery from a while back of an article about Beggars of Life (as Captaires de Vida) which by chance rests next to an article about Dali (pictured center of page). It comes from a Catalonian newspaper.
I wonder if any of the Surrealists wrote any poems about Louise Brooks? Does anyone know? I know they wrote about Charlie Chaplin.
