Louise Brooks


 Louise Brooks

Mary Louise Brooks – (1906-1985) Kansas, USA. Cinema’s first truly modern actress, the magnetic image of Louise Brooks transcends the passage of time, appearing as strikingly prescient today as she must have seemed eighty years ago. Initially Brooks floated around some fairly forgettable parts in light early romances, before catching the attention of German Expressionist svengali G.W.Pabst, who invited her to Germany to work on two films that would both immortalise, and ultimately end her career in America. ‘Pandora’s Box’ & ‘Diary of a Lost Girl’ stand as two of the greatest achievments of the silent era, elevating her to the staus of Icon. This marriage of European artisty with the modern abandon of American sexual vitality created something quite unique and revolutionary. This was a new cinema, that expressed passions and ideas that made the contemporary films of the age look like child’s play in comparison. As Brooks herself put it – “The great art of films does not consist of descriptive movement of face and body but in the movements of thought and soul transmitted in a kind of intense isolation.” For the first time in cinema Art had been created, and the ripples would spread far and wide. On returning home though, the American film community shunned her for disloyalty and after a trickle of insultingly feeble roles, Brooks left an ungreatful cinema for a brief literary career and ultimately obscurity.


The Street of Forgotten Men (1925) Uncredited 1st role

The American Venus (1926) – Lost Film

Love ‘Em and Leave ‘Em (1926)

Now we’re in the Air (1927) – Lost film

A Girl in Every Port (1928)

Beggars of Life (1928) Dir. William A. Wellman

The Canary Murder Case (1929)

Pandora’s Box (1929) Dir. G.W.Pabst

Diary of a Lost Girl (1929) Dir. G.W.Pabst

Prix de Beaute (1930) Dir. Augusto Genina



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