Louise Brooks as Lulu in Pandora's Box screens 3 times in July

What's better than one screening of Louise Brooks as Lulu in Pandora's Box? How about two screenings? And what's better than two screenings? How about three screenings! In July, the British Film Institute in London, England will screen the classic 1929 film three times during the month, on Saturday July 2, Saturday July 16, and Saturday July 31. More information about these showings can be found HERE. (Tickets go on sale today, June 9.)

According to the BFI: "Louise Brooks dazzles as the dangerously appealing seductress in GW Pabst’s classic adaptation of Frank Wedekind’s Lulu plays."

Saturday 02 July 2022 15:10   NFT3

Saturday 16 July 2022 12:20 NFT1

Sunday 31 July 2022 15:20 NFT1

 

With Peer Raben score (2 and 16 July) or live piano accompaniment (31 July)

"GW Pabst’s celebrated adaptation of Frank Wedekind’s two plays about the unintentionally destructive actions of the effortlessly seductive Lulu centres on a rightly acclaimed performance by Brooks, who oozes careless vivacity and irresistible charm as Lulu captivates the Berlin bourgeoisie. But the direction is also brilliantly meticulous, making memorable use of Günther Krampf’s fluid camera and expressive lighting."

 

Of course, Pandora's Box was not always considered a classic in the UK. What follows are a few early clippings from around the time the film was first shown; it was variously censored ("chaotic form") and derided as "liberalistic" and "marxist".

London Observer 8-24-30

Daily Telegraph, 8-14-34

 

This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society (www.pandorasbox.com). Original contents copyright © 2022. Further use prohibited.

Louise Brooks - Getting it wrong again and again

There is all kinds of  misinformation about Louise Brooks and her films. Some of it goes way back, to the 1920s, and some of it is only a few days old. There are factual errors, like getting a date wrong or misidentifying a character in a film, and there is "fake news" - like the photoshopped nudes in which some idiot has placed Brooks' head on someone else's body. Despite it being kinda pathetic and rather obvious, those images still circulate on eBay and Facebook. . . . Just last week I noticed a picture postcard of Clara Bow on eBay which was identified as Louise Brooks, despite the postcard being labelled as Clara Bow! 

For as long as I have been reading about / researching / collecting material about Louise Brooks, I have come across instances of mistaken information about the actress. Perhaps the most famous example is her being credited with a role in The Public Enemy (1931). That belief lingered for decades, and at one time was repeated in the New York Times.

Recently, while looking at some newly digitized vintage newspapers, I came across an instance where the same newspaper got it wrong again and again and again - at least three times and over a period of a few years. I am referring to the Banner-Herald from Athens, Georgia. This first example dates from March 23, 1927, at the time Love Em and Leave Em was showing at the local Palace theater. The captioned picture on the left identified as being Evelyn Brent ain't; and who know who is the women in the advertisement for the film on the right. Perhaps the same beret-wearing actress?

This next example from the Banner-Herald dates from just a few month's later, specifically August 2, 1927. Rolled Stockings was showing at the Palace, and the local newspaper managed to find a flapper-looking type and identify her as Louise Brooks. Which it ain't.

I can't figure out why this happened. Didn't the Banner-Herald have a picture of Louise Brooks on hand which they could use? Or did all youthful, flapper-type actresses look alike to the layout department? Or was the image substituted deliberately? This last example dates from May 17, 1928, at the time A Girl in Every Port was showing at the Palace. And again, an incorrect image is used.

If anyone knows who the incorrectly attributed actresses are, I would appreciate hearing about it. They do seem familiar. . . . Please post a comment.

This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society (www.pandorasbox.com). Original contents copyright © 2022. Further use prohibited.

Louise Brooks film Beggars of Life screens in UK June 8

The 1928 Louise Brooks film, Beggars of Life, will be shown at the Studio, Hull Truck Theatre in Hull, England on June 8. Musical accompaniment will be provided by Jonny Best, who will improvise his score. More information about this event can be found HERE.

According to the venue website: "Louise Brooks is best known today for her starring roles in GW Pabst’s 1929 classics, Pandora’s Box and Diary of a Lost Girl, but before that pair of masterpieces, she teamed up with one of early Hollywood’s greatest action directors, William Wellman, a former WW1 flyer with a reputation for hard drinking, punch-ups, and dangerous stunts. The Beggars of Life shoot was notorious for all of these and the speeding train stunts still startle today - Brooks herself was nearly thrown beneath the wheels during one shot.

Based on an autobiographical novel by Jim Tully, Louise Brooks plays Nancy, who goes on the run disguised as a boy and falls in with a handsome young hobo, Jim, played by Richard Arlen. Amidst all the action thrills, Beggars of Life is a tender, touching story of unlikely love and in it we see the first inkling of the Louise Brooks who would go on, two years later, to become not just an international star but an imperishable icon.

As usual, the film will be brought to life by Jonny Best’s live, improvised score."

Dir William A. Wellman | 1928 | United States | U | 100 mins | Silent

Want to learn more this riveting film? My 2017 book, Beggars of Life: A Companion to the 1928 Film, looks at the film Oscar-winning director William Wellman thought his finest silent movie. Based on Jim Tully’s bestselling book of hobo life—and filmed by Wellman the year after he made Wings (the first film to win the Best Picture Oscar), Beggars of Life is a riveting drama about an orphan girl (played by Louise Brooks) who kills her abusive stepfather and flees the law. She meets a boy tramp (leading man Richard Arlen), and together they ride the rails through a dangerous hobo underground ruled over by Oklahoma Red (future Oscar winner Wallace Beery). Beggars of Life showcases Brooks in her best American silent—a film the Cleveland Plain Dealer described as “a raw, sometimes bleeding slice of life.” This first ever study of Beggars of Life includes more than 50 little seen images, a mention of the Dodge Brothers, and a foreword by actor and author William Wellman, Jr. (the director's son). 

 

Louise Brooks Wants to Film in Norway

Norwegian film buff and researcher Tor Lier came across an interesting article about Louise Brooks which he generously allowed me to share here on the Louise Brooks Society blog. The article, "Louise Brooks Wants to Film in Norway," is dated September 7, 1929 and comes from a defunct Oslo newspaper. Tidens Tegn. Tor also translated the article from its original Norwegian into English.

As Tor noted on Facebook, the article begins with an assessment of her current "cult" status, as the newspaper writer (identified as Achmed) puts it, and includes an analysis of her personality. Lastly, the journalist mentions a hitherto unknown Norwegian film project Brooks was reportedly offered. (The validity of this offer cannot be confirmed.) That offer is a curious one, in that both Pandora's Box and Diary of a Lost Girl were banned in Norway. 

I tried to track down information about the author of this article, Achmed (a likely pseudonym), but was stumped. Interestingly, this article includes interview style content, which makes it uncommon, as Brooks did not give many interviews -- or just wasn't asked. (The authenticity of this interview, which likely took place in Germany sometime between between June 17 and July 26, 1929 while Brooks was shooting Diary of a Lost Girl, also cannot be confirmed.) Nevertheless, here is the article in its original form. Tor Lier's translation follows.

Louise Brooks wants to film in Norway.

The famous movie star talks to "Tidens Tegn"

For the past half year a veritable Louise Brooks fever has taken Middle Europe. Everyone seems to have gotten the pert little American movie star on the brain. It's all but impossible to open a magazine or newspaper without seeing at least one picture of her — in big evening dress, in walking clothes, in pyjamas, in skimpy dancing costume, in a veil, or in absolutely nothing.

Of course Louise Brooks has achieved a considerable popularity through her American Paramount films, but the cause of this overwhelming cult surely lies in the enormous success she enjoyed as Lulu in the film of Wedekind's "Die Büchse der Pandora", the first film she made in Europe.

The German director G. W. Pabst here made his masterpiece, a film with a penetrating artistic intensity with passages of great beauty. Louise Brooks is not exactly the type one imagines as the dangerous Lulu, but she possesses that peculiar charm which carries her safely over all hurdles. It's not that she is more beautiful than many another girl, but she is considerably more spicy. Most of all it is her look, her expression, that is so unique and personal. This inquisitive, searching, wondering look which unites in a strange mixture of complete innocence and wordly wisdom. Before the camera she may pose in the most natural manner and totally disarm the viewer with this extraordinary innocent-but-not-so-innocent look.

The Berlin critics were actually rather merciless about Louise Brooks' Lulu — some virtually took it as an insult to the nation that an American woman was summoned to embody the famous vampire, however the public was much more delighted. It's a long time since a German film has achieved such an enthusiastic and overwhelming reception. Everywhere the film was screened, nationally or abroad, not only did audiences fully embrace the film, but so did the other critics. An artistic film one seldom if ever sees the likes of, that was the general judgement.

Here in Norway, of course, the film has been banned. We honestly thought we had passed the kindergarten stage of film censorship, and it's painful to acknowledge this return to the intolerable guardianship of the medieval prudes. There's no justification for denying adults the opportunity to see a film which can't be faulted artistically, just because it deals with daring topics. Wedekind has been presented on the stage here — with "Frühlingserwachen" — so why deny him access to the silver screen. The censorship board has every reason to reconsider its decision.

The charming American movie star likes Europe so much that she has recently completed her second European film — shot in Paris — and has now returned to Berlin to make her European film no. 3, under the direction of Pabst.

Your correspondent was successful in securing a short interview with the young lady.

— It pains me to to hear that "Die Büchse" has been banned in Norway, says Miss Brooks, who by the way is a Mrs, but already divorced from her first husband, a Hollywood director. The film has done so well everywhere, and Pabst's work is of such a high quality that it's a damn shame it's being denied. But the ban doesn't have to be final, does it? Is there no court of appeal?

— The film has been discussed in all offices, it seems.

— I can't understand that, says the young movie star, I have such a good impression of the Norwegians, I never thought they were so prejudiced and narrow-minded?

— Then you have some knowledge of Norway?

— I've never been to Norway, but I almost went there. After filming "Die Büchse" I received an offer from some Norwegians about a part in a film that was to be partly filmed there. And on that occasion, we had a long talk about Norway and the Norwegians. The script, which I still have lying around, was extraordinarily interesting. I was most intent on this Norwegian adventure, but even before we had gotten to the point of discussing the contract, something happened that ruined any possibility of my participating. As far as I know, the film was never made, so perhaps there might be a chance this winter. So many lousy scripts are filmed every year, and this script was so exceptionally good that it really deserves to be made.

Achmed.  

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Here's a link to the original Norwegian  newspaper:
https://www.nb.no/items/92c10522086e408222404c0d205b63ca?page=9&fbclid

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This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society (www.pandorasbox.com). Original contents copyright © 2022. Further use prohibited.

Louise Brooks film It's the Old Army Game to screen in Denver, Colorado

Louise Brooks is happy to return to Denver, where she first appeared in person in 1922
as a member of the Denishawn Dance Company

After a two-year hiatus, the Denver Silent Film Festival is set to return with a series of screenings at the Sturm Family Auditorium inside the Denver Botanic Gardens in Denver, Colorado. This year's festival theme, "We Need to Laugh," features 11 short and feature-length comedies from the silent film era including the must see Louise Brooks / W.C. Fields film, It's the Old Army Game (1926).

The Denver Silent Film Festival was established in September, 2010. Its mission is to present a broad spectrum of silent films by programming "a lively and thought-provoking mix of educational and entertaining films" including American and foreign classics, as well as lesser-known rare and restored films. However, like much of the world, things have been on hold during the Covid pandemic. More information about this year's event can be found HERE.

Here is the line-up of films, each of which features live musical accompaniment:

May 20 - The Cameraman (1928) with Musical Accompaniment by the Mont Alto Motion Picture Orchestra

May 21 - Comedy Shorts Package with Musical Accompaniment by The Dollhouse Thieves

May 21 - The Strong Man (1926) with Musical Accompaniment by Hank Troy

May 21 - Max the Circus King (1924) with Musical Accompaniment by the CAM Student Orchestra with Donald Sosin & Joanna Seaton

May 21 - It's the Old Army Game (1926) with Musical Accompaniment by Hank Troy, and an introduction by DSFF’s David Shepard Honoree Richard Koszarski

May 22 - Two Timid Souls  / Les Deux Timides (1928) with Musical Accompaniment by Rodney Sauer

May 22 - So This Is Paris (1926) with Musical Accompaniment by Hank Troy

May 22 - The Kid Brother (1927) with Musical Accompaniment by Donald Sosin and Joanna Seaton 

It’s the Old Army Game is a comedy about a small town druggist (played by W.C. Fields) who gets involved with a real estate scam. Louise Brooks plays the druggist’s assistant. The film was Brooks’ fourth, and it reunited her with Fields, the film’s star. The two had worked together in the Ziegfeld Follies of 1925.

It’s the Old Army Game received mostly positive reviews, though some critics noted its somewhat thin plot. Algonquin Round Table playwright Robert E. Sherwood (who would go on to win four Pulitzer Prizes and an Academy Award) was then writing reviews for Life magazine. His pithy critique read, “Mr. Fields has to carry the entire production on his shoulders, with some slight assistance from the sparkling Louise Brooks.” Ella H. McCormick of the Detroit Free Press echoed Sherwood with “Fields scored a splendid triumph in this picture. A great part of the success of the offering, however, is due to Louise Brooks, who takes the lead feminine part.”

When It's the Old Army Game first played in Denver, Colorado in June of 1926, Betty Craig previewed the film in the Denver Post. She singled out Brooks, noting “In the meantime the young fellow from the big town has fallen in love with the lovely creature that serves as the store’s only clerk, who is none other than the captivating Louise Brooks.” The following day, Craig penned her review, stating “W. C. Fields is very amusing, and Louise Brooks, featured with Mr. Fields, gives a dandy performance.”

The film, especially its interiors, were shot at Paramount’s Astoria Studios on Long Island (located at 3412 36th Street in the Astoria neighborhood in Queens), and in Manhattan. Location shooting, including exteriors, was done in Ocala and Palm Beach, Florida in late February and March, 1926. (Ocala is an inland farming community near Gainesville, Florida.) 

For this special Denver Silent Film Festival screening, the film will be introduced by Richard Kosarski, the leading authority on film production at Paramount's Astoria studio. Koszarski not only interviewed Louise Brooks about her East Coast film work, but has authored two related, must read books, Hollywood on the Hudson: Film and Television in New York from Griffith to Sarnoff and The Astoria Studio and Its Fabulous Films: A Picture History with 227 Stills and Photographs. At the recent San Francisco Silent Film Festival, I had the chance to meet Richard Koszarski and his wife Diane, and talk with them about their work (and Louise Brooks). It was an honor.

 

I would enjoy hearing from anyone who attends the festival and the It's the Old Army Game screening.

At the end of The Street of Forgotten Men, Louise Brooks first film, a clue

As mentioned in my previous post, the new restoration of The Street of Forgotten Men was well received when it was shown recently at the San Francisco Silent Film Festival. The large crowd responded positively throughout, especially when Louise Brooks made her first brief appearance on screen. She  garnered a smattering of applause, and when the film concluded, there was a brisk round of applause as well as a few cheers and hollers from the audience.

Bridgeport White-Eye and his Moll (played by Louise Brooks)

Previewing the film ahead of its Festival screening, Michael Barrett wrote in Pop Matters, "Restored this year by the Festival, this Paramount production is missing its second reel, which deteriorated decades ago. The best they could do was 'reconstruct' this reel via dialogue and still images. It’s too bad this reel is missing, but the rest of this splendid print makes an impact as only far-fetched silent melodramas can."

I came across a few other notices of note. Writing on Facebook, film commentator Matías Antonio Bombal noted, "This is one of the most visually perfect prints to be screened this year at the festival, looking exactly as silent films did when brand new.  Exquisite contrast and sharp detail." And on his regular radio broadcast "Matias Bombal's Hollywood" (on KAHI AM and FM in Auburn, California), Bombal stated The Street of the Forgotten Men was "fantastic" and the "absolute highlight" of the Festival. Bombal also singled out Harold Rosson's "stunning photography" seen in the film.

Lincoln Spector, writing on Bayflicks, gave The Street of Forgotten Men a respectable "B" grade. He described the film as "A window into New York’s Bowery – Hollywood style. The concept is based on the probability that panhandlers make more money when they’re disabled, or at least if they’re faking their disabilities. It’s a heart-wringing melodrama and is reasonably entertaining. This film was rare for a long time, and the second reel is completely lost (this restoration uses stills and intertitles to help you get through the missing part). A not-yet-famous Louise Brooks pops up near the end."

I will conclude this post with something a bit unusual.... 

As I have mentioned in previous posts, I have been looking at The Street of Forgotten Men quite closely, sometimes frame by frame. The screen capture shown above caught my interest for reasons which I will explain. It comes from near the end of the film, just before the fight breaks out between Bridgeport White-Eye and Easy Money Charley. "Whitey" and his moll (Louise Brooks) are sitting at a table which has a newspaper on it. Easy Money Charley approaches, and casts a shadow on the white newsprint as he looms over the table. At first unaware, Whitey and his moll are startled. Brooks' character retreats, and a fight breaks out between the two men.

I have been looking at and identifying some of the props and decor in the The Street of Forgotten Men. And to me, this newspaper looked real. And it is! As far as I can tell, this is an actual copy of the New York Evening American  Journal-American, a Hearst newspaper, which dates from early May, 1925. 

Since this particular newspaper is not online, I can't tell the exact date of publication, but I can narrow it down to sometime following May 6 and perhaps before May 11. I am guessing so because I found an very similar page (both in terms of layout and content) published on May 11 (see below). Notably, the Nell Brinkley cartoon "Could Such Things Be" is dated May 5, which leads me to guess this page of syndicated content was published the following day or very soon thereafter. (Besides the Nell Brinkley cartoon, there are a number of advice columns from Beatrice Fairfax.)

I will go out on a limb and guess that legendary cinematographer Harold Rosson had the idea to film the shadow hovering over the table, and needed a white-toned surface on to which to cast a shadow. Someone might have had that day's newspaper, or the previous day's paper, and it was used as a kind-of prop. All of which leads me to guess that the scene in which Brooks was featured was filmed sometime following May 6th and perhaps before May 11th.

If anyone can get access to the New York Evening American to pin down the date of publication of the page in question, that would be great. I believe it is available on microfilm at the New York Public Library.