Pandora’s Box – bibliography

  This page presents an annotated, worldwide bibliography of reviews, articles and other published material related to the 1929 film Die Büchse der Pandora, or, as it is commonly titled in English, Pandora’s Box. This German film includes Louise Brooks in the role Lulu. Under its German title, documented screenings of the film took place in Austria, Danzig (then the free city-state now known as Gdańsk), Slovakia (then part of Czechoslovakia), Latvia (then part of the U.S.S.R), Luxembourg, Ukraine (then part of the U.S.S.R), and the United States.

Outside Germany, Die Büchse der Pandora was exhibited or written about under the title Loulou (Algeria); La caja de Pandora and Lulu (Argentina); Le boîte de Pandore and Loulou (Belgium); A caixa de Pandora (Brazil); Кутията на Пандора (Bulgaria); La caja de Pandora and Lulu (Chile); Lulu La Pecadora (Cuba); Pandořina skříňka or Pandořina skříňka (Lulu) and Umrít Büchse der Pandoru (Czechoslovakia) and Pandorina skrínka (Slovakia); Pandoras æske (Denmark); De doos van Pandora (Dutch East Indies – Indonesia); Pandora’s Box (England); Pandora laegas (Estonia); Pandoran lipas (Finland); Loulou and Le boîte de Pandore (France); Λούλου and Lulu- το κουτί της Πανδώρας (Greece); Pandóra szelencéje (Hungary); Lulu and Il vaso di Pandora and Jack lo Sventratore (Italy); パンドラの箱 or Pandoranohako and The Box of Pandora (Japan); Korea (Box of Pandora); Pandoras lade and Pandoras Kaste (Latvia); Pandoros skrynia (Lithuania); Lou lou La Boite de Pandore (Luxembourg); La caja de Pandora (Mexico); De doos van Pandora (The Netherlands*); Pandoras eske (Norway); Lulu and Puszka Pandory (Poland); A Bocéta de Pandora and A caixa de Pandora (Portugal); Cutia Pandorei and Lulu and Pandora szelenceje (Romania); Lulu and Pandorina skrinjica (Slovenia); La caja de Pandora (Spain); Pandoras ask (Sweden); Meş’um Fahişe and Meş’um Fahişe (Lulu) (Turkey); Dzieje Kokoty Lulu (Ukraine); Box of Pandora and Pandora’s Box (English-language press) and Pandora szelencéje (Hungarian-language press) and Ящик Пандоры (Russian-language press) (United States); La caja de Pandora and Lulu and El alma de la herrera (Uruguay, sound version); Lulu or Лулу and Iashchik Pandory or Ящик Пандорьі (U.S.S.R.); La caja de Pandora (Venezula).

Since the late 1950s, numerous screenings of the film have been taken place around the world, including first ever showings under the title Pandora’s Box in Australia, Canada, India, Israel, Northern Ireland, and elsewhere. In 2016, a first ever showing of the film took place in Turkey under the titles Pandora’nın Kutusu and Pandora’nýn Kutusuö. The film has also been shown on television in a few countries in Europe as well as in Australia, Canada, the United States.

It is the intention of this bibliography is to be both comprehensive and as useful as possible. Most citations represent a substantial review or article. Shorter, capsule reviews — usually a paragraph or two in length — are so noted, and are cited only if deemed notable. Entries are arranged chronologically. Critical commentary regarding Brooks, or the film as a whole (excerpted from the material cited) are given as annotations. Translation are my own. Some citations link to the material noted; a few of these links reside on the Louise Brooks Society, while most others exist elsewhere on the web. The type of publication (newspaper, magazine, etc…) and place of publication are also indicated, except for books and web publications.

Much can be gleamed from a bibliography such as this. Besides what critics thought of the film, one can follow the path of the film’s distribution — as in where it showed and when. As well, this bibliography reflects how many newspapers there may have been in any given city or region (which can suggest further avenues of research), and which of those reviewed movies. History, here, is in the details. An * indicates that a copy of this citation is held in the archives of the LBS. This annotated bibliography has been compiled by Thomas Gladysz, and was last updated in May 2025. [Help wanted: If you know of additional citations, can provide further information on entries noted on this page, or can provide copies of citations not marked with an * but which are known to exist, please contact the LBS. The LBS would especially like to acquire material about screenings of the film in eastern Europe (especially Czechoslovakia), the Soviet Union, Latin America and Asia.]

 

PANDORA’S BOX
premiered February 9, 1929

anonymous. “Die Büchse der Pandora.” Kinematograph, June 7, 1928. (Germany) *
— brief article announcing a production directed by G. W. Pabst

S., F. D. “Wissen Sie Keine Lulu?” Berliner Volkszeitung, July 25, 1928. (Germany) *
— related article about the search for an actress to play Lulu in Berlin Newspaper

MacPherson, Kenneth. “As Is.” Close Up, August, 1928. (England / Switzerland) *
— early mention quoted in its entirety; “Pabst is about to make Wedekind’s Box of Pandora, and is (as I write) held up only by not being able to find a suitable leading lady. Having interviewed over six hundred applicants, and tested many of them, he is by now sending cables to America. By the time this appears no doubt somebody will have been chosen, and production will be in progress.”

anonymous. “G. W. Pabst, Ich suche eine Lulu!” B. Z. am Mittag, August 10, 1928. (Germany) *
— early article in Berlin newspaper

anonymous. “Eine Lulu gesucht . . .” Reichsfilmblatt, August 11, 1928. (Germany) *
— brief article in German trade journal

anonymous. “Comment and Review.” Close Up, October, 1928. (England / Switzerland) *
— early mention quoted in its entirety; “The long search at last is ended. Lulu has been found. By the time this is in print it will be news no longer. Having literally searched the whole of Europe for a suitable type for Lulu in The Box of Pandora (adapted from the book by Wedekind), having interviewed hundreds and tested scores, in Germany, France, Sweden, Austria, Hungary, G. W. Pabst has at last found, in America, the type for which he had been seeking in vain. Lulu will be no other than Louise Brooks, the well known junior Paramount star. The search for Lulu has been almost the principal topic of interest in Germany for a couple of months. Everywhere one went one heard “What about Lulu?”, “Is Lulu found yet” . . . Lulu is found. And now, after long delay, Pandora will be filmed by Nero Film.”

anonymous. “Louise Brooks kommit aus Hollywood nach Berlin.” Neue Berliner Zeitung, October 11, 1928. (Germany) *
— early article in Berlin newspaper

anonymous. “Louise Brooks, die Lulu des films.” Republik, October 11, 1928. (Germany) *
— article in Wilhelmshaven newspaper

anonymous. “Zweitaufend und eine Lulu.” Der Hamburgischer Correspondent, October 20, 1928. (Germany) *
— article, “Two Thousand and One Lulus,” in Hamburg newspaper, reprinted in Die Buhne and other publications; “For the first time in film history a great star comes from America in order to conquer here . . . . Louise Brooks, the German Lulu, stands at the beginning of a new epoch in world film.” (author may be F. J. Stefan)

Sandor, Fodor. “A Lulu Olimpiasz Gyoztese Louise Brooks (U.S.A.).” Színházi Élet, October 21-27, 1928. (Hungary). *
— two page article in Hungarian magazine in which the search for an actress to play Lulu is described as a Lulu Olympics

Stefan, F. J. “Zweitaufendundeine Lulu.” Die Bühne, October 25, 1928. (Austria) *
— article in Austrian magazine: “Today, when America is taking our best talent, do we have to bring over a Lulu from Hollywood? Do we perhaps want to repay the favor for the kidnapping of our stars? Or don’t we have enough foreign films in our country that we have to over-foreignize our own? …. Then the name of Louise Brooks appeared on the horizon of the film firmament, and when Pabst showed the gentlemen from Nero some films in which Louise Brooks had played, there was only one voice: this one or none at all! Cables and radio dispatches then went to Hollywood and New York. The anxious question arose as to whether Paramount would loan its star to Europe.… Louise Brooks was given her autumn leave, and in mid-October she arrived in Berlin. For the first time in film history, a major star from America was coming to Germany to bring a German stage character to the screen. Louise Brooks, the German Lulu, stood at the beginning of a new era in world film.” (see above citation for October 20, 1928 Der Hamburgischer Correspondent)

anonymous. “Von Henny bis Lulu.” Kinematograph, October 30, 1928. (Germany) *
— front page article references the actors involved in the film: “Otherwise, Pabst is still filming Lulu. The film for which they reportedly spent months searching all over the world for the lead actors.”

anonymous. “Louise Brooks Berlinbe.” Tolnai Világlapja, November 7, 1928. (Hungary) *
— brief article about the search for an actress to play Lulu in Hungarian magazine

Lohmeyer, Walter Gottfried. “Lulu.” Reichsfilmblatt, November 10, 1928. (Germany) *
— brief article in German trade journal

anonymous. “Lolát megtalálták.” Budapesti Hírlap, November 11, 1928. (Hungary) *
— brief article “Lulu has been found” in Budapest newspaper: “Louise Brooks has played in very few films, but her youth and mischievousness, reminiscent of Colleen Moore, make her suitable for the personification of Lulu.”

anonymous. “Information.” Le Figaro, November 16, 1928. (France) *
— brief notice in Paris newspaper: “German director Pabst will direct Pandora’s Box, based on Wedekind’s play. The cast is German.”

author unknown. Die Film-Illustriete, November 16, 1928. (Germany)
— article in Berlin publication about the making of Die Büchse der Pandora

d. “Blick ins Glashaus: Dolch und Monokel.” Film-Kurier, November 17, 1928. (Germany) *
— article

Close Up, December, 1928. (England / Switzerland) *
— two pages with four images of film stills (see the LBS webpage Pandora’s Box in Close Up Magazine)

anonymous. “Wedekind im Film. Jack the Ripper filmt.” Lichtbild-Buhne, November 20, 1928. (Germany) *
— article in German film magazine

anonymous. “Search for Lulu.” The Australasian, December 1, 1928. (Australia) *
— short article in weekly magazine: “America was ransacked, we were informed, before a suitable Lorelei Lee was found for the film version of Gentleman Prefer Blonds. A similar search has been made by a German company for a Lulu for a film version of The Box of Pandora….”

anonymous. “Vidám esték az Ufában.” Budapesti Hírlap, December 12, 1928. (Hungary) *
— a brief and largely inconconsequential piece in Budapest newspaper here quoted in its entirety: “A Berlin studio is producing one of Frank Wedekind’s most famous dramas, Pandora’s Box. Naturally, the film modernizes the story, especially in certain episodes, while the Salvation Army is included in the script, which helps fallen girls and turns them to the right path. The main character of the film is Louise Brooks, one of the most outstanding members of the young American film actor generation, whose performance in this difficult role will bring the most certain success.”

anonymous. “Los Apuros de Pabst.” La Epoca, December 24, 1928. (Spain) *
— article in Madrid newspaper

1929

Close Up, January, 1929. (England / Switzerland) *
— four pages with eight images of film stills (see the LBS webpage Pandora’s Box in Close Up Magazine)

anonymous. “German Pictures for England.” The Bioscope, January 30, 1929. (England) *
— brief item: “Another interesting piece of information concersn the acquisition by B.I.F.D. of two new German pictures, Pandora’s Box, the big production just completed by G. W. Pabst for nero films, and rightly considered to be one of the outstanding German productions of the season….”

“Die Büchse der Pandora. (Lulu)” Illustrierter Film-Kurier, February 1929. (Germany) *
— 16 page issue devoted to the film with numerous stills and articles including “Frank Wedekind” by Julius Kapp, “Der Kampf un Lulu” by Erich Mühsam, “Die ‘Lulu’ von Frank Wedekind” by Tilly Wedekind, “Lulu und ihr ‘grosses Gefolge” by Karl Ritter, and “Frank Wedekind, der Scharfrichter” by Eugen R. Schlesinger. (cover pictured right)

anonymous. “Die Büchse der Pandora.” Film-Kurier, February 2, 1929. (Germany) *
— one page of captioned film stills

anonymous. “Der Film selzt sich für Wedekind ein.” Kinematograph, February 3, 1929. (Germany) *
—two pages of film stills and text

anonymous. Die Filmwoche, February 6, 1929. (Germany)
— article in German film magazine

anonymous. “Die Büchse der Pandora.” Paimann’s Filmlisten, February 8, 1929. (Austria) *
— trade publication

Schwarzwald, Eugenie. B. Z. am Mittag, February 8, 1929. (Germany)
— article about G.W. Pabst and the making of the film by a noted educator

anonymous. “Der Wedekind-Film im Gloria-Palast.” Film-Kurier, February 9, 1929. (Germany) *
— front page article with image of Tilly Wedekind as Lulu

anonymous. “Wedekinds Lulu erzählt Kein Vamp – sondern ein Kind.” Film-Kurier, February 9, 1929. (Germany) *
— Tilly Wedekind, the widow of the author, gives her opinion of the film

anonymous. “Die Büchse der Pandora.” Österreichische Film-Zeitung, February 9, 1929. (Austria) *
— long review in film journal (click on the right-hand side of page to advance to next page)

Jellinek, Malvine. “Die Büchse der Pandora.” Das Kino-Journal, February 9, 1929. (Austria) *
— review in Austrian film journal: “When the screening of this film drama is over, one is still in the midst of its fateful events…. The acting was excellent, and every role was authentically cast.”

anonymous. Berliner Illustrierte Nachtausgabe, February 11, 1929. (Germany)
— article in Berlin newspaper

anonymous. “Trok fibirifcher kalte in Berlin groker Lulu-Erfolg.” Film-Kurier, February 11, 1929. (Germany) *
— front page article, notably this is the second day in a row in which Die Büchse der Pandora received front page coverage; a second article in this issue, by George Herzberg, followed on page two

anonymous. “Lulu mit und ohne Wedekind.” Kinematograph, February 11, 1929. (Germany) *
— full page article; ” . . . ein Filmwerk mit Ambition.”

anonymous. “Der freie Produzent. Gedanken zur Pandora-Premiere.” Lichtbild-Buhne, February 11, 1929. (Germany) *
— article in film journal

anonymous. Neue Preuß (Kreuz-)Zeitung, February 11, 1929. (Germany)
— article in German newspaper

Aros. Der Montag (Berliner Lokal-Anzeiger), February 11, 1929. (Germany)
— review in Berlin newspaper (Aros is the pen name for Alfred Rosenthal)

author unknown. Film-Echo, February 11, 1929. (Germany)
— article in German film magazine

Blaß, Ernst. “Die Film – Lulu / Die Büchse der Pandora im Gloria – Palast.” Berliner Tageblatt, February 11, 1929. (Germany) *
— review in Berlin newspaper: “The long-sought Lulu is Miss Brooks from the U.S.A. A very beautiful girl, full of pretty, charming ease. But without earth spirit, without sensual power. A lady who would like to marry well.”

D. Der Abend, Spatausgabe des Vorwarts, February 11, 1929. (Germany)

Gunther. 8-Uhr-Abendblatt, February 11, 1929. (Germany)
— Berlin evening newspaper

Herzberg, Georg. “Der große Abend der Süd-Film: Der Lulu-Film.” Film-Kurier, February 11, 1929. (Germany) *
— page two article in German film magazine: “Two factors make the film a work of art: Günther Krampf’s brilliant camera work and the brilliant performances. Pabst draws effects from a carefully assembled ensemble that is true cinematic art, something the stage cannot replicate. There is Louise Brooks’s Lulu, who has been much discussed for months. The most passive role in the film, Pabst centers his film around this woman, allowing tragedies to unfold and people to perish around her. She stands there, smiling, in childlike delight in sensual pleasure. At times, she becomes somewhat reluctant, like a schoolgirl for whom something has gone wrong. Pabst doesn’t make Lulu a vamp to be hated, but a woman who is not responsible for her effect on men. In this sense, Brooks is a brilliant interpreter, and it is truly difficult to find anyone among German actresses who could have taken her place.”

J., F. “Die Büchse der Pandora. Im Gloria-Palast”. B. Z. am Mittag, February 11, 1929. (Germany) *
— review in Berlin newspaper: “Hollywood’s Louise Brooks, cast by Nero film, has the most beautiful eyes, the most natural smile, and a charming back, and is so completely unaffected, as if she were oblivious to the direction and lighting. There are actors around her, and you can always tell they’re under pressure, but she’s not acting, she’s acting herself. It’s childish—and therefore almost perfect.” 

K-i., C. “Die Büchse der Pandora.” Die Welt, February 11, 1929. (Germany) *
— short review in Berlin newspaper

K., M. Welt am Abend, February 11, 1929. (Germany)
— article in German newspaper

Lustig, Hanns G. “Wedekinds “Lulu” im Film/Der Fall der verwitweten Frau Schon.” Tempo, February 11, 1929. (Germany) *
— review in Berlin newspaper: “The audience, which (in the Gloria-Palast) has the final say, agrees with the defendant. Especially since she, in the delightful guise of Miss Louise Brooks from Hollywood, clearly demonstrates that she has nothing whatsoever to do with the events around her. Her smiling disinterest makes the courtroom hustle and bustle around her completely incomprehensible. This charming American film actress barely has two different nuances of expression for the primal force of ‘Lulu’.”

ma. “D.e versimte Lulu.” Deutsche Allgemeine Zeitung, February 11, 1929. (Germany) *
— review in Berlin newspaper (authors may be Frank Maraun & Erwin Goelz)

Nurnberg, Rolfr. Neue Berliner Zeitung / Das 12 Uhr Blatt, February 11, 1929. (Germany)
— Berlin publication

Reve, Ludwig. Berliner Morgenpost, February 11, 1929. (Germany)
— Berlin publication

Sahl, Hans. Der Montag Morgen, February 11, 1929. (Germany)

Wille, Hansjürgen. “Die Büchse der Pandora.” 8 Uhr-Abendblatt, February 11, 1929. (Germany) *
— article in Berlin newspaper: “As for Lulu, however, director G.W. Pabst searched desperately for months for a suitable actress. He finally traveled to America and brought back Louise Brooks, a very supple, very flexible, very graceful actress—unfortunately, not Lulu.”

Wollenberg, Hans. “Die Büchse der Pandora.” Lichtbild-Buhne, February 11, 1929. (Germany) *
— article in German film journal

anonymous. “Kunst und Klsteu.” Arbeiter Zeitung, February 12, 1929. (Austria) *
— short article

author unknown. Der Deutsche, February 12, 1929. (Germany)

g. Der Tag, February 12, 1929. (Germany)

Gl., K. Dr. “Die Büchse der Pandora.” Berliner Morgenpost, February 12, 1929. (Germany) *
— review with three images in Berlin newspaper (K. Gl. is the pseudonym for Konrad Gluck)

Ihering, Herbert. “Jack unterm Mistelzweig.” Berliner Borsen-Courier, February 12, 1929. (Germany) *
— review in Berlin newspaper: “In einer flachen Plauderwelt müssen Lulus so ungefährlich aussehen wie Louise Brooks” (difficult to translate, perhaps something like “In a shallow world, Lulus must look as harmless as Louise Brooks.”)

Oly. “Vom Film Die Büchse der Pandora.” Berliner Börsen-Zeitung, February 12, 1929. (Germany) *
— review in Berlin newspaper: ” . . . one hundred percent erotic fluidity that one would expect from a real Lulu despite the childish eyes.” (Oly is the psuedonym for Fritz Olimsky)

P., H. “Die Büchse der Pandora Lulu im Film.” Vossische Zeitung, February 12, 1929. (Germany) *
— review in Berlin newspaper: “He searched for a suitable actress for half a year, filmed over a thousand candidates, then put them aside again, and finally brought Louise Brooks from Hollywood. Louise Brooks, young, magnificently built, perhaps has the Lulu mind and childish gestures that Wedekind envisioned. But Lulu’s innocence is only superficial: the fact is that the erotic fluidity radiating from each of her limbs drives men to madness and suicide. Louise Brooks radiates nothing but cheerfulness and youth . . . . Pabst himself seems to have realized that the gifted Louise Brooks (who will hopefully develop into a charming comedic talent) is completely inadequate, for he did not place her at the center of the film. In doing so, he served her, but not his film, which falls apart: there are a few excellent scenes, but they bear little connection whatsoever to the Lulu plot . . . . Louise Brooks isn’t driven by instinct, but rather an unusually personable athleticism. She does a bit of gymnastics once, and that’s when she’s at her most appealing. So, in this case, the entire film adaptation of Wedekind’s work was, unfortunately, a mistake.” (author is Heinz Pol)

R.-r. Deutsche Tageszeitung, February 12, 1929. (Germany)
— Würzburg publication

anonymous.”Kommende Filme.” Die Stunde, February 13, 1929. (Austria) *
— article

anonymous. Berliner Lokal-Anzeiger, February 13, 1929. (Germany)
— article in Berlin newspaper

Dyck-Schnitzer, F(ranze). “Die Büchse der Pandora.” Berliner Volks-Zeitung, February 13, 1929. (Germany) *
— review in Berlin newspaper: “And Louise Brooks is Lulu. This young American conquered more than 800 women of all nations. Pabst discovered her in an older Menjou film in a small role and waited for her for months until she finally left America for his film. And it was worth the wait. Childlike in appearance, she often smiles like a playful little stubborn child. But behind this childish laughter lurks the grin of a demon. She plays the ending excellently”

d. Deutsche Zeitung, February 14, 1929. (Germany)
— article (d. may be Richard Biedrzinski)

Bormann, H(anns) H(einrich). Rhein-Mainische Volkszeitung, February 14, 1929. (Germany)
— Frankfurt publication

anonymous. “Criticisms.” Der Film, February 15, 1929. (Germany) *
— capsule review in German trade publication presented in English, Spanish and French

anonymous. “Die verfilmte Lulu.” Prager Tagblatt, February 15, 1929. (Czechoslovakia) *
— positive German-language review in Prague newspaper

Van onzen correspondent. “Nieuw filmes.” Nieuwe Rotterdamsche Courant, February 15, 1929. (Netherlands) *
— write-up in Rotterdam newspaper

anonymous. Die Wahrheit, February 16, 1929. (Germany)

anonymous. “Die Büchse der Pandora in Berlin ein großer Erfolg!” Die Stunde, February 16, 1929. (Austria) *
— short report on the Berlin premiere, which is titled in translation “Pandora’s Box a great success in Berlin!“: “The gala premiere of Wedekind’s Lulu tragedy, filmed by G. W. Pabst, has just taken place at Berlin’s Gloria-Palast. Despite the Siberian cold, which also prevails in Berlin, the turnout for the premiere was enormous. The most prominent personalities from the film, theater, and literary worlds were present. The critical audience was incredibly captivated by the film, and there was thunderous applause at the end of the screening. All actors, with the exception of Louise Brooks (Lulu), who has returned to Hollywood, appeared before the curtain again with G. W. Pabst. Pandora’s Box will be released in Vienna on March 1st.” (This same piece appeared in another Vienna newspaper, Der Tag, the previous day.)

Betz. “Uraufführung im Gloria-Palast: Die Büchse der Pandora.” Der Film, February 16, 1929. (Germany) *
— author is Hans Walter Betz; German trade publication

anonymous. “Musikkritik der Uraufführungen.” Lichtbildbuhne, February 16, 1929. (Germany) *
— critique of opening-night music for the film

i. “Die Büchse der Pandora.” Reichsfilmblatt, February 16, 1929. (Germany) *
— review in German trade journal

j. “Die Büchse der Pandora Gloria – Palast.” Germania, February 17, 1929. (Germany) *
— short review in Berlin newspaper (author is Igna Maria Junemann)

Raca. “Lulu.” Frankfurter Zeitung, February 17, 1929. (Germany) *
— review in Frankfurt newspaper by “Raca” (the pen name of the noted film critic Siegfried Kracauer); “Trying to capture the profound impact of Wedekind’s mighty play on a flat surface was a risky undertaking. It succeeded only partially.… Louise Brooks plays Lulu. She is effective through her childlike face, which, in the face of the horrific events, stands out cleanly and, amidst the swirl of blood, is all the more terrifying. It lacks the power of the instinctual, and it is insufficient for the prostitute.” 

anonymous. “Berliner Filmerfolge.” Der Abend, February 19, 1929. (Austria) *
— short article in Vienna newspaper mentions the “very large audience” and how “Berliners crowded in front of the Gloria-Palast” for the prior week’s showings of Pandora’s Box

anonymous. Kolner Lokal-Anzeiger, February 20, 1929. (Germany)
— article in Koln newspaper

J-s. “Kritiken.” Die Filmwoche, February 20, 1929. (Germany) *
— review in German film magazine; J-s is Paul Ickes

Spael, Dr. W. Kolnische Zeitung, February 20, 1929. (Germany)
— article in Cologne newspaper

anonymous. Sozialistische Republik, February 21, 1929. (Germany)

Kästner, Erich. “Wedekind und Tolstoi im Film.” Neue Leipziger Zeitung, February 22, 1929. (Germany) *
— article by a well known German writer in Leipzig newspaper; reprinted in Gemischte Gefühle: Literarische Publizistik aus der Neuen Leipziger Zeitung 1923-1933 (Berlin: Aufbau-Verlag, 1989 / Zürich: Atrium, 1989).

anonymous. “Filme der Woche Die Büchse der Pandora Verfilmt.” Hamburger Echo, February 23, 1929. (Germany) *
— review in Hamburg newspaper

jo-. “Die Büchse der Pandora.” Der Hamburgischer Correspondent, February 23, 1929. (Germany) *
— review in Hamburg newspaper

Lydor, Waldemar. “Kino-Musik-Kritik.” Reichsfilmblatt, February 23, 1929. (Germany) *
— mention of opening night music in German trade journal

M., H. Hamburger Anzeiger, February 23, 1929. (Germany)
— Hamburg newspaper (author H. M. is Hans Meißner)

Schwarzwald, Eugenie. “Der Filmregisseur.” Neues Wiener Journal, February 24, 1929. (Austria) *
— article about G.W. Pabst and the making of the film by the noted educator

anonymous. “2 Poor German-Mades, Both Showing in Berlin.” Variety, February 27, 1929. (United States) *
— brief article dated Feb. 26: “Among recent pictures opening here… Pandora’s Box, directed by Pabst from the Wedekind play, is dull and artificial. Importation of Louise Brooks for the lead in this one was an error. She’s unsuited to the vampire role.”

anonymous. “Ein Wedekind-Film ohne Wedekind.” Die Bühne, Febraury 29, 1929. (Austria) *
— short review with film stills in Austrian film magazine

anonymous. “Lulu! Die Buchse der Pandora.” Filmkunstler und Filmkunst, #5, 1929. (Germany) *
— short review in film magazine

anonymous. “Lulu oder: Der Teufel im Weibe.” Mein Film, number 165, 1929. (Austria) *
— three page illustrated article; Brooks as Lulu also appears on the front and back covers

Close Up, March, 1929. (England / Switzerland) *
— two pages with four images of film stills (see the LBS webpage Pandora’s Box in Close Up Magazine)

anonymous. Sozialistische Bidung, March, 1929. (Germany)
— article in journal devoted to socialist education (author may be Hermann Hieber)

D., H. “An Appreciation.” Close Up, March, 1929. (England / Switzerland) *
— interview feature with Pabst (the author is poet Hilda Doolittle)

Hl. Leipziger Volkszeitung, March 1, 1929. (Germany)
— article in Leipzig newspaper (author is Hans Otto Henel)

author unknown. Mitteilungen der Bildstelle des Zentralinstituts für Erziehung und Unterricht, March 1, 1929. (Germany)

anonymous. Munchner Telegramm-Zeitung, March 1/2, 1929. (Germany)
— article in Munich newspaper (author is Hans Otto Henel)

anonymous.”Der Film Die Büchse der Pandora.” Neues Wiener Tagblatt (Tages-Ausgabe), March 2, 1929. (Austria) *
— review in Vienna newspaper

anonymous.”Die Büchse der Pandora.” Die Stunde, March 2, 1929. (Austria) *
— brief article with film still in Vienna newspaper

anonymous.”Die Büchse der Pandora.” Wiener Allgemeine Zeitung, March 2, 1929. (Austria) *
— brief article in Vienna newspaper

Kraszna-Krausz, A(ndor). Filmtechnik-Filmkunst, March 2, 1929. (Germany)
— article in German trade journal by the noted writer and Close Up contributor

Porges, Friedrich. “Die Büchse der Pandora Wedekinds Lulu-Tragedie als Film.” Der Tag, March 2, 1929. (Austria) *
— review in Vienna newspaper

anonymous. Munchener Zeitung, March 2/3, 1929. (Germany)

Cleve, Felix. “Wedekind’s Die Büchse der Pandora im Film.” Neue Freie Presse, March 3, 1929. (Austria) *
— long article in Vienna newspaper

Fischer, Wolffgang. Filmkritische Rundschau, March 3, 1929. (Germany)
— article in German film magazine

H., Joh. “Wedekind’s Die Büchse der Pandora im Film.” Das Kleine Blatt, March 3, 1929. (Austria) *
— full page article in Vienna newspaper; regarding Brooks, the critic stated “She is incredibly beautiful, acts discreetly and without affectation, and above all completely avoids the so-called misconception of Lulu as a sophisticated, devilish cocotte who deliberately leads men to ruin. She turns out to be the opposite. True, Wedekind demands from the actress who portrays his Lulu the ‘vice of childishness,’ but also the ‘vice of childlike simplicity’ (although he only uses this moralizing phrase for a specific reason).”

R., F. “Der gute Film Die Büchse der Pandora.” Arbeiter-Zeitung, March 3, 1929. (Austria) *
— review by Fritz Rosenfeld in Vienna newspaper; “German ‘stars’ would have likely played a salon-snake whose ‘seductive’ behavior bordered on the ridiculous; Louise Brooks plays a cat-like, yet very gentle Lulu, and, by all accounts, does not portray a demonic Lulu; perhaps unconsciously, through her entirely naive, uncomplicated interpretation of the role, she comes close to Wedekind’s idea of ​​the childlike Lulu, of the not immoral, but amoral, driven being.”

S., K. “Die Büchse der Pandora Der neue Wedekind-Film.” Die Stunde, March 3, 1929. (Austria) *
— review of the film which had just opened in eight theaters in Vienna

R. “Die Büchse der Pandora.” Freiheit!, March 4, 1929. (Austria) *
— review in Vienna newspaper: “A lot is going on in this film adaptation of Wedekind. From the prostitute in its various forms to lust murder, all forms of sexuality are represented. Even same-sex love between women is included.”

r., B. Der Abend, March 5, 1929. (Austria) *
— brief write-up in Vienna newspaper in which the film is termed a “mishmash”

anonymous. “Films in Berlin.” Variety, March 6, 1929. (united States) *
— “Louise Brooks, especially imported for the title role, did not pan out, due to no fault of hers. She is quite unsuited to the vamp type which was called for by the play from which the picture was made.”

Falkenberg, Paul. “La boîte de Pandore.” Cinémonde, March 7, 1929. (France) *
— two page illustrated feature

anonymous. “Neue Filme.” Reichspost, March 8, 1929. (Austria) *
— review in Vienna newspaper; “Sascha: Pandora’s Box, a moral drama in 8 acts. If a film is particularly morally low, then it certainly comes from Berlin, from the kind of filmmakers who believe that filmmaking, because it is the most modern art, must also be the most immoral. The domain of their imagination is the swamp of the big city, especially the life of prostitutes and pimps, and hence their literary ideal, Frank Wedekind, who was at home there with satanic delight. Thus, his main work, “Pandora’s Box,” could not remain unfilmed. Accordingly, the film is a wicked mixture of shamelessness, brutality, and sentimentality. It is sad that an Austrian company has been found to pour this Berlin Pandora’s box, filled to the brim with the most filthy immoral material, onto Vienna. Producer: Nero-Film, Berlin, directed by G. W. Pabst.”

Gong. Deutsche Republik, March 8, 1929. (Germany)

P.  Deutsche Filmzeitung, March 8, 1929. (Germany)
— article in German film magazine (author is Rene Prevot)

B. Volkischer Beobachter, March 9, 1929. (Germany)
— Munich publication

anonymous. “Lichtspiel.” Salzburger Chronik für Stadt und Land, March 9, 1929. (Austria) *
— short review in Salzburg newspaper

B. I. “Der Film Die Büchse der Pandora.” Grazer Tagblatt, March 13, 1929. (Austria) *
— review in Graz newspaper: “The film is a complete success. The tragedy unfolds in gripping, vivid images. Louise Brooks is Lulu. A devoutly cultivated pageboy, two eyes full of light, goodness, promise, and life-threatening danger. One could imagine this Lulu more restless, wilder, more demonic—perhaps Greta Garbo could be Lulu. But that is precisely what makes this woman Lulu: the gentle calm of her restlessness, the soft gentleness of her wildness, the light of her demonic nature. [Brooks is] A ravishingly convincing Lulu.”

Gtal. “Film Die Büchse der Pandora.” Arbeiterwille, March 13, 1929. (Austria) *
— review in Graz newspaper: “To the extent that powerfully expressive images can be translated into film, it has happened here in this film. Louise Brooks plays Lulu about as well as Anna May-Wong played the Chinese girl in Song.”

anonymous. “Cronica premierelor.” Curentul, March 14, 1929. (Romania) *
— review in Bucharest newspaper: “I must admit that, with very few reservations, I was satisfied with the way Lulu was transposed to the screen. If Louise Brooks, a wonderful messenger of Hollywood, did not manage to be a true “vamp’, a ‘Pandora’, the rest of the cast, led by Fritz Kortner and Franz Lederer, constitute a rare collaboration in international film production…. the film, through interpretation, direction and technique, is undoubtedly a great success of German production.”

Blass, Ernst. Die Literarische Welt, March 15, 1929. (Germany)

anonymous. “Filme vom Tage.” Illustrierte Kronen Zeitung, March 15, 1929. (Austria) *
— short review in Vienna newspaper in which Brooks is referred to as “a racy thoroughbred”

anonymous. “Kino.” Päewaleht, March 17, 1929. (Estonia) *
— review in Tallinn newspaper: “Pandora’s Box is a film that goes beyond ordinary cinema dramas. Full of deep and painful truths of life, played believably and with soul. A series of completely fresh types on the screen, above the usual slick ‘beauties’. A gripping drama with haunting dark final chords.”

Raschig, Kraft. “Gestalten und Darsteller.” Mein Film, no. 166, 1929. (Austria) *
— half-page article in Austrian film magazine

Close Up, April, 1929. (England / Switzerland) *
— three pages with five images of film stills (see the LBS webpage Pandora’s Box in Close Up Magazine)

Brenner, Max Dr. “Büchse der Pandora.” Film und Volk, April, 1929. (Germany) *
— short review in leftist film magazine

Eisgruber, Heinz. Kulturwille, April, 1929. (Germany)
— review in German journal

Kraszna-Krausz, A. “G. W. Pabst’s Lulu.” Close Up, April, 1929. (England / Switzerland) *
— critical analysis of the film on aesthetic grounds by a noted writer

P., H. Der Bildwart, April, 1929. (Germany)
— article in German magazine (author is Hans Pander)

anonymous. “O Cinema Atraves O Mundo.” Selecta, April 2, 1929. (Brazil) *
— article in Brazilian publication

Wadsworth, P. Beaumont. “From Printed Pages to the Silver Screen.” Boston Transcript, April 6, 1929. (United States) *
— the first article in the United States to consider the film; it echoes much of the earlier German criticism (as it is unlikely the author, a noted literary critic, saw the film)

Vincent, Carl. “Loulou ou Le boîte de Pandore.” L’Indépendance Belge. April 12, 1929. (Belgium) *
— short review in Brussells newspaper

Film Correspondent, Our. “Close Ups.” Yorkshire Post and Leeds Intelligencer, April 16, 1929. (England) *
— column in Yorkshire newspaper summarizes the recent issue of Close Up: “… and from Pabst’s latest picture — not yet shown here — though a critique of this film, which also appears in the issue, is not very favorable. It seems that Pabst has not yet succeeded in reproducing the authentic atmosphere of Wedekind’s novel Pandora on which the film is based, and in particular has found no equivalent for Wedekind’s pungent dialogue. His heroine, Louise Brooks — specially brought from Hollywood — is also said to lack the physical appeal essential for a character intended to represent the tragic results of unadulterated sexual impulse. But the ‘stills’ are so attractive that I hope we shall see the film here before long.”

W., W. “Wiesbadener Lichtspiele.” Wiesbadener Tagblatt, April 19, 1929. (Germany) *
— review in Wiesbaden newspaper: “Pabst’s highly commendable direction is therefore cautiously referred to as ‘variations’ on Wedekind…. Louise Brooks’s Lulu is piquant, but brings the usual feminine, almost affectionate, quality to the film.”

St.- Vilmer. “Loulou.” Cinematographie Francaise, April 20, 1929. (France) *
— article in French trade journal

anonymous. “Der Film-Palast.” Wiesbadener Bade-Blatt. April 21, 1929. (Germany) *
— article in Wiesbaden newspaper

Vincent-Brechignac, J. “Loulou, ou Wedekind attenue par Pabst.” Pour Vous, April 25, 1929. (France) *
— ilustrated article about the film

anonymous “Les Films Du Mois.” Cinèmagazine, April 26, 1929. (France) *
— review with illustration in French film magazine

Bouissounouse, Janine. L’Ami du Peuple, April 26, 1929. (France)
— article in Paris newspaper: “Louise Brooks made Loulou a perverted and irresponsible little girl.”

C., L. “Loulou” Cine-Journal, April 26, 1929. (France) *
— near full page article in French film magazine: “Loulou is Louise Brooks who has interpreted her delicate and difficult role with great talent. She is quite remarkable in it. She is seductive, disturbing and cruel, surprisingly alive and intensely expressive.” (author may be L. Chapeau)

Bouissounouse, Janine. “Loulou.” La Revue du Cinéma, May, 1929. (France) *
— ” . . . magnifique film”

Constantin, Paul. “Un film de arta : Lulu. (Buchse der Pandora).” Cinema, May 1, 1929. (Romania) *
— short review in film journal: “Pabst here once again affirms his incomparable virtuosity as author and performer; his adaptation after Wedekind is truly a perfection of atmosphere and life…. Louise Brooks has an unimaginable perverse charm. Both she and the excellent performers who surround her deserve the most unreserved admiration; the compliment, however, is given the extraordinary talent of Pabst,….”

Lenauer, Jean. “Pabst nous parle de Loulou.” Pour Vous, May 2, 1929. (France) *
— short article about Pabst and the censorship of Loulou in French film magazine

D., L. “La Boite de Pandora.” Cinemagraphie Francaise, May 4, 1929. (France) *
— article in French trade journal (author is Lucie Derain)

Jeremy. “Pandorina skryoka.” Slovensky dennik, May 16, 1929. (Czechoslovakia)
— Bratislava publication

B., O. “Five Minutes with Pabst.” Kinematograph Weekly, May 30, 1929. (England) *
— interview with the director: “As I had been in Paris a few days previously I mentioned to Mr. Pabst the French edition of Pandora’s Box, then sat back and waited for the storm. Not a bit of it; Mr. Pabst just beamed at me; the French version was too comic! Everyone in Paris had failed to follow the story, and the firm had written asking him to patch up their massacre, which invitation he had refused. Nevertheless he has planned a subtle revenge; he is going to allow one of the avant gardde kinemas to show an authorized copy! ‘With this censorship I am between two stools; in Germany they think I am not daring enough, in Russia they think I am bourgeois…. Crisis has been banned in seven European countries. Pandora’s Box in six.” (the author is identified as a “Special Correspondent.”)

Lenauer, Jean. “Letter to an Unknown.” Close Up, June, 1929. (England / Switzerland) *
— article discusses the film and the effect of French censorship; “Louise Brooks is not chosen because she is Louise Brooks but because, for whatever reason, she looks likely to find it easier than anyone else might, to sink into and become a visual expression of Lulu in Pandora’s Box. Or so it appears to Pabst.”

anonymous. “Przed Ekranem.” Kurjier Warsawski, June 1, 1929. (Poland) *
— review in Warsaw newspaper

anonymous. “Lulu Puszka Pandory.” Kurjer Polski, June 4, 1929. (Poland) *
— short review in Warsaw newspaper

anonymous. Il Giornale d’Italia, June 8, 1929. (Argentina) *
— brief article in Italian-language Argentinian newspaper

“Vous Verrez.” Ciné-Miroir, July 12, 1929. (France) *
— captioned image in French film magazine

anonymous. “Filmnieuws.” het Vaderland, August 9, 1929. (Netherlands) *
— brief article in Dutch newspaper

anonymous. “Pandora.” Cinearte, August 14, 1929. (Brazil) *
— two page illustrated feature with credits and brief notes

H., R. “Potemkin to be Seen in London.” Manchester Guardian, September 21, 1929. (England) *
— Manchester newspaper article references screening in London “in the coming season”, while noting the film “had been a great success in Germany this year”

anonymous. “Louise Brooks.” Sumatra Post, October 9, 1929. (Dutch East Indies – Indonesia). *
— short article about the film

anonymous. Il Giornale d’Italia, October 11, 1929. (Argentina) *
— brief article

anonymous. “Louise Brooks sarà la protagonista del film La caja de Pandora.” L’Italia del Popolo, October 14, 1929. (Argentina) *
— article about the search for Lulu; according to this article Pabst chose eighteen girls, then six, including Greta Garbo

anonymous. Il Giornale d’Italia, October 15, 1929. (Argentina) *
— brief article

anonymous. “La magnifica super-produzione sonora La caja de Pandora appartiene alla Filmreich.” Il Giornale d’Italia,October 16, 1929. (Argentina) *
— brief article

anonymous. “The Box of Pandora.” Movie Times, October 21, 1929. (Japan) *
— review in Japanese film fournal

anonymous. “La Caja de Pandora è anche un’opera d’arte fotografica.” Il Giornale d’Italia, October 25, 1929. (Argentina) *
— brief article about the film’s cinematography

anonymous. “Chi è Lulù.” Il Giornale d’Italia, October 30, 1929. (Argentina) *
— short article about the character of Lulu

anonymous. “Gossip of All the Studios.” Photoplay, November 1929. (United States) *
— passing mention in magazine column: “News from the European front says that it will be a long time before Hollywood gets another look at the sparkling black eyes of little Louise Brooks. When the microphone turned American pictures sour on her, Louise lit out for abroad. She clicked smartly in a film called The Box of Pandora and is now acting out in The Diary of a Fallen Woman, which title will be too hot a potato for American screens.”

anonymous. “Change in 55th St. Program.” Film Daily, November 1, 1929. (United States) *
— small item quoted here: “The second series of Secrets of Nature will be shown beginning tomorrow at the Fifty-fifth St. Playhouse, New York, in place of Pandora’s Box, which has been rejected by the Motion Picture Division.”

anonymous. “I protagonisti della Caja de Pandora: il dottor Schoen.” Il Giornale d’Italia, November 3, 1929. (Argentina) *
— brief article

anonymous. “Pandora szelenceje.” Aradi Közlöny, November 8, 1929 (Romania) *
— brief aerticle in Közlöny newspaper: “Pandora’s Box, which is being shown tonight by the Central cinema, was banned for a long time in almost all European countries. The censorship found some parts too erotic, even though they were only realistic, like Frank Wedekind’s other plays. In Romania, for the first time, this intriguing drama will be shown from the beginning to the end; in addition to its exciting storytelling, it also has literary value. The tragedy of Lulu, the little flower girl who became a demon, is nerve-wracking and inescapable. The main role is played by Louise Brooks, with Fritz Kortner and Franz Lederer as co-stars. The direction is masterfull. Pandora’s Box is a must-see for everyone.”

anonymous. “Be van tiltva.” Aradi Ujság, November 9, 1929 (Romania) *
— short article, whose title translates as “Banned,” in Ujság newsaper: “Even today, in most of Europe, Pandora’s Box is considered a grandiose film…. It is certain that every performance will be watched by a packed house.”

anonymous. “The World of Pictures. Brisbane Courier, November 9, 1929. (Australia) *
— brief article in Brisbane newspaper: “The outstanding German picture produced of late is Pandora’s Box, based on Frank Wedekind’s story. its director is G. W. Pabst, one of the most promising of the younger German producers. For the part of Lulu, the heroine of the play, Pabst brought Louise Brooks from Hollywood. Despite the charm of the American girl, the German critics are not satisfied with Pabst’s choice for the role. This film is about as horrible a one as could well be imagined.”

anonymous. “La caja de Pandora pellicola sonora della Filmreich.” Il Giornale d’Italia, November 10, 1929. (Argentina) *
— brief article

anonymous. “La caja de Pandora si proietterà al Teatro Porteno.” Il Giornale d’Italia, November 13, 1929. (Argentina) *
— brief article about the film’s premiere in Buenos Aires at the Teatro Porteno

anonymous. “Chi è Lulù.” Il Giornale d’Italia, November 16, 1929. (Argentina) *
— article with illustrations

anonymous. “Notas Cinematograficas.” La Prensa, November 18, 1929. (Argentina) *
— review in Buenos Aires newspaper

anonymous. “La caja de Pandora ha avuto grande successo nella sua prima esibizione.” Il Giornale d’Italia, November 19, 1929. (Argentina)
— article about the film’s success

anonymous. “Seguita con grande esito la proiezione della Caja de Pandora.” Il Giornale d’Italia, November 22, 1929. (Argentina) *
— brief article about the film

Daly, Phil M. “Along the Rialto.” Film Daily, November 27, 1929. (United States) *
— brief mention in column: “In Pandora’s Box, which shows itself on Saturday at the 55th St. Playhouse, marks Louise Brooks’ initial appearance in a foreign film.”

anonymous. Il Giornale d’Italia, November 29, 1929. (Argentina) *
— brief article

anonymous. “Caixa de Pandora.” Frou-Frou, December 1929. (Brazil) *
— one page of film stills and text in Brazilian film magazine

anonymous. “The Box of Pandora, Here.” New York Herald Tribune, December 1, 1929. (United States) *
— artcle in New York City newspaper: ” . . . one of Germany’s outstanding productions of many seasons.”

anonymous. “Wedekinds Die Buchse der Pandora im Film.” New Yorker Volkszeitung, December 1, 1929. (United States) *
— article in German-language New York City newspaper

anonymous. “Kino.” Novoye Russkoye Slovo, December 1, 1929. (United States) *
— brief article in Russian-language New York City newspaper

anonymous. “Wedekinds Die Buchse der Pandora im Film.” Staats-Zeitung und Herold, December 1, 1929. (United States) *
— article in German-language New York City newspaper

Hall, Mordaunt. “A Disconnected Melodrama.” New York Times, December 2, 1929. (United States) *
— review in New York City newspaper: “In an introductory title the management sets forth that it has been prevented by the censors from showing the film in its entirety, and it also apologizes for what it termed ‘an added saccharine ending’ . . . . Miss Brooks is attractive and she moves her head and eyes at the proper moment, but whether she is endeavoring to express joy, woe, anger or satisfaction it is often difficult to decide.” – reprinted in George C. Pratt’s Spellbound in Darkness (Rochester, New York: University of Rochester, 1966)

R., Dr. “Die Buchse der Pandora.” New Yorker Herold, December 2, 1929. (United States) *
— article in German-language New York City newspaper

S., A. M. “Pandora’s Box Disjointed and Dreary.” New York Post, December 2, 1929. (United States) *
— review in New York City newspaper: “It develops into a rather dull underworld offering which makes very little sense.”

Crewe, Regina. “Louise Brooks in German Picture That’s Not So Good.” New York American, December 3, 1929. (United States) *
— review in New York City newspaper: “Louise Brooks acts vivaciously but with a seeming blindness as to what it is all about.”

Tazelaar, Marguerite. “On the Screen.” New York Herald Tribune, December 3, 1929. (United States) *
— review in New York City newspaper: “Unlike Anna May Wong, and other Holywood actresses who have blossomed into skilled players under European influence, Miss Brooks doesn’t seem to have improved since her departure.”

Thirer, Irene. “Pandora’s Box Silent Film at 55th Street Playhouse.” New York Daily News, December 3, 1929. (United States) *
— review in New York City newspaper: “Louise Brooks is ideally suited to the role of Lulu.”

author unknown. Jewish Daily Forward, December 4, 1929. (United States) *
— article in Yiddish-language New York City newspaper

Olivet, Rene. “On verra cette semaine a Paris.” Cinémonde, December 5, 1929. (France) *
— review in French film magazine

anonymous. “At the 55th Street.” New York Sun, December 6, 1929. (United States) *
— mention in New York City newspaper: ” . . . has smashed the Fifty-fifth Street Playhouse’s box office records. It will therefore be held for another week.”

anonymous. “Der Erfolg der Die Buchse der Pandora.” Staats-Zeitung und Herold, December 6, 1929. (United States) *
— article in German-language New York City newspaper

Schader, Freddie. “Opinions on Pictures.” Motion Picture News, December 7, 1929. (United States) *
— review in trade journal subtitled “Sexy Stuff Cut by Censors”: “The management at the 55th Street Playhouse makes an apology in its program for this picture. It states that the New York Censors prevented them from showing the picture in its original form and that they were forced to ‘add a rather saccharine ending for which we crave pardon.’ At that the picture is above the average of the usual foreign-made production shown in this type of theatre. It has a fast tempo which in itself is unusual. Undoubtedly Louise Brooks, who is starred, is largely responsible for this…. One of them is a woman who uses masculine attire so your conclusions are your own. The present ending has the girl and boy reunited or about to be so.” (n.b. the run time is given at 1 hour and 19 minutes – a later issue gives the length as 6200 feet)

anonymous. “Der Erfolg der Die Buchse der Pandora.” New Yorker Volkszeitung, December 7, 1929. (United States) *
— article in German-language New York City newspaper

M., J. C. “The Current Cinema.” New Yorker, December 7, 1929. (United States) *
— brief mention in magazine: ” . . . a subdued Kraft-Ebing overtone in Pandora’s Box, at the Fifty-fifth Street Playhouse, for the benefit of the Wedekind group.”

Martin, Quinn. “Louise Brooks and the Censors.” The World, December 8, 1929. (United States) *
— review in New York City newspaper: “It does occur to me that Miss Brooks, while one of the handsomest of all the screen girls I have seen, is still one of the most eloquently terrible actresss who ever looked a camera in the eye.”

Harrower. “Louise Brooks in Pandora’s Box.” Film Daily, December 8, 1929. (United States) *
— capsule review in trade journal: “Louise Brooks, the American actress, has the part of an exotic girl who attracts men and women alike. . . . It is too sophisticated for any but art theater audiences.”

anonymous. “Kino.” Novoye Russkoye Slovo, December 9, 1929. (United States) *
— capsule review in Russian-language newspaper in New York City

Waly. “Film Reviews.” Variety, December 11, 1929. (United States) *
— review in trade journal: “Better for Louise Brooks had she contented exhibiting that supple form in two-reel comedies or Paramount features. Pandora’s Box, a rambling thing that doesn’t help her, nevertheless proves that Miss Brooks is not a dramatic lead.”

L., J. F. “Pandora’s Box.” Billboard, December 14, 1929. (United States) *
— short review in trade journal: “This is a silent production that has no business playing anyhting but guild theaters.”

anonymous. “La Caja de Pandora.” Caras y Caretas, December 21, 1929. (Argentina) *
— brief write up in Buenos Aires weekly magazine

anonymous. “Lichtbild und Film.” Bildungsarbeit. Blätter für sozialistisches Bildungswesen, 1929. (Austria) *
— positive review in socialist education journal

1930

anonymous. “Szinhaz es Muveszet.” Kassai Ujság, January 4, 1930. (Czechoslovakia) *
— brief article in Hugarian-language newspaper: “Pandora’s Box, Wedekind’s drama, is the most human and profound film, we have rarely seen such a great and shocking play illuminating such horrific depths. Louise Brooks’s acting is perfect, this woman is a great combination of femininity and lust who absolutely makes you believe that she is the doom of men. Fritz Kortner’s brave masculinity, his restrained temperament elevate this actor to the greatest. Franz Lederer’s beautiful youth, his slow tragedy creates an illusion. This film is a beautiful, rare, artistic creation, a similar perfect creation that German and American film acting has not produced for years.”

anonymous. “A Kassai Korzo-Mozgo Musora.” Prágai Magyar Hirlap, January 5, 1930. (Czechoslovakia) *
— article in Hugarian-language Prague newspaper

anonymous. “At Little Theater.” Baltimore Sun, January 26, 1930. (United States) *
— short preview article in Maryland newspaper

K., D. “The Box of Pandora.” Baltimore Sun, January 28, 1930. (United States) *
—- review in Maryland newspaper: “The Box of Pandora, at the Little Theater this week, was much discussed in advance, and was shown in uncensored form at a private performance New Year’s Eve. In many respects it is a remarkable film, and in others it is a disappointment…. This print has been mutilated and distorted by the Maryland Board of Motion Picture Censors, so that seeing it is like reading a book with several chapters cut out and an ending from another volume pasted in the back. The board, of course, is not to blame in this matter, since it is their duty to execute the laws formulated for the protection of those likely to be influenced by pornographic films. The fact that the Box of Pandora deals with sex in a thoughtful, mature and honest way apparently has no bearing on the case.”

anonymous. “The Shadow Stage.” Photoplay, February, 1930. (United States) *
— capsule review in American film magazine: “When the censors got through with this German-made picture featuring Louise Brooks, there was little left but a faint, musty odor. It is the story, both spicy and sordid, of a little dancing girl who spread evil everywhere without being too naughty herself. Interesting to American fans because it shows Louise, formerly an American ingenue in silent films, doing grand work as the evil-spreader. Silent.”

anonymous. “Meş’um Fahişe (Melek’le) Louise Brook, Kortner ve Lederer.” Milliyet Cuma, February 7, 1930. (Turkey) *
— short review with accompanying film still of an embracing Brooks and Lederer; “Louise Brooks is also good as a prostitute….” — notably, the film’s Turkish title, Meş’um Fahişe, translates to English as The Unholy Whore

anonymous. “Weekly Box Office Check-Up And Showmen’s Ad. Tips.” Motion Picture News, February 8, 1930. (United States) *
— “Box of Pandora (Nero) BALTIMORE— Little (267), 6 days, 35 and 50 cents. Other attractions, scenic, piano, musical translation by Orchestraphone, Charlie Chaplin in The Adventurer. Weather, heavy snow Monday and Thursday; cloudy, clear and cold otherwise. Opposition (screen), Grand Parade, The Kibitzer, Darkened Rooms, Lost Zeppelin, The Sap, Sunny Side Up, Melody Man, Sally, Chasing Rainbows. Stage, Pygmalion, Connie’s Hot Chocolates, Jack Reid and his “Record Breakers,” various concerts and artists at the Lyric. Rating, 90%.” (this screening did below average, as is noted “In Figuring Percentage Rating on Pictures, the Normal or Average Business of the Theatre Is Taken As 100%.”)

Weinberg, Herbert G. “On Censorship.” Exhibitor’s Herald World, February 15, 1930. (United States) *
— letter to the editor from Weinberg who signs his piece as manager of the Little theater in Baltimore: “Hollywood films may put on exhibitions of all sorts of sexual orgies — yet, here, one may not show a scene of a man kissing a woman on the neck, particularly if it is in a foreign movie. This state actually objected to a scene of a man and woman, seated on a couch, kissing. The film was The Box of Pandora, made in Germany. A young boy, with his head lying chastely in a woman’s lap, was originally ordered out of this same film.”

anonymous. “Brief Reviews of Current Pictures.” Photoplay, March, 1930. (United States) *
— capsule review in American film magazine: “In case you’ve been wondering what happened to Louise Brooks, here she is big as life and twice as naughty, in what was probably a good German picture before the censors operated on it. Silent.” (same capsule review repeated over the next few months)

M. Поманебка. Ящик Пандоры. KiNO, March 1930. (Ukraine) *
— Ukrainian language article on the film (in need of translation)

anonymous. “French Plan Restrictions Under Quota.” Baltimore Sun, March 17, 1930. (United States) *
— syndicated article in Maryland newspaper reporting on cinema news from France, including this short bit: “A number of pictures have been released here recently, including Somnambulist, Pandora’s Box …. Perhaps Pandora’s Box is the most interesting to American filmgoers because it stars Louise Brooks, whose latest American production is The Canary Murder Case.”

V.-B., J. “Loulou.” Pour Vous, March 20, 1930. (France) *
— short review with scene still in French film magazine

Gelas, J.P. “Les mutilateurs de film.” L’Action Francaise, March 28, 1930. (France) *
— La Boite de Pandora is discussed in article about film censorship in Paris newspaper

anonymous. “パンドラの箱.” Shinko-Eiga, April 1930. (Japan) *
— text about the film in film magazine

anonymous. “A boceta de Pandora.” O Seculo, April 7 – 8, 1930. (Portugal)
— capsule review in Portuegese film magazine: “Louise Brooks embodies, with her whole being, the modern Pandora.”

anonymous. “Daily Reminders.” Korea Press, April 8, 1930. (Korea).*
— brief notice of a screening of Box of Pandora (which lasted 5 days) in English-language Seoul newspaper; the film was shown in the Tang Sung Sa Movie Hall and is described as a ten reel German production with Louise Brooks; it was accompanied by another 10 reel film, an Ufa film titled Behind the German Front

S., R. S. “Lulu la Pecadora.” Diaro de la Marina, April 10, 1930. (Cuba) *
— short review in Havana newspaper: “Another German film. Well made. Well acted. Exciting. But…. Lulu the Sinner is a full-throttle soap opera. The actors, however, have the talent for more noble artistic endeavors. All, without exception, perform admirably.”

H., R. “The Week on the Screen.” Manchester Guardian, April 12, 1930. (England) *
— article includes a long paragraph on the film; “Pabst’s Lulu is also, I believe, in this country, but we shall probably not see it even in the French version let alone the original German, for being a version of Wedekind’s Box of Pandora it depicts the life of a ‘thoroughly immoral woman’… and Louise Brooks, in a part that called for Brigitte Helm, who could not be obtained, is nothing more than wooden.”

L., A. “Estreias.” Cinefilo, April 12, 1930. (Portugal) *
— short review in Portuegese film magazine: “Louise Brooks took a decisive step forward in her career.”

anonymous. “Pandora’s Box.” The Bioscope, April 16, 1930. (England) *
— capsule review in English trade journal: “Louise Brooks does all that is possible in the role of Lulu. Her performance, combined with the masterful characterisation of the wealthy man by Fritz Kortner, makes the early scenes definitely dramatic and effective.”

anonymous. “Pandora’s Box.” Kinematograph Weekly, April 17, 1930. (England) *
— review in English trade journal: “… a sordid story, which has plenty of action and has been produced with great skill, but which is bound to be caviare to the general public. Pabst’s manner is very interesting, but the picture can hardly be expected to appal to the average audeience…. Louise Brooks plays the part of the woman who is dominated by sexual passion, with as much skill as she has shown during career. She appears in the murder scene with a curious expression of bewilderment, but otherwise expresses the characterisation well.”

H., R. “The Week on the Screen.” Manchester Guardian, April 19, 1930. (England) *
— article includes a long paragraph on the film; “I had no idea, when I wrote last week of pabst’s Lulu, that it would be trade shown so soon. It was rumoured that it was being synchronized, but it was shown silent last week under its original title…. It has been considerably cut, nearly all Alice Roberts’s part having been deleted….”

Bessy, Maurice-M. “Cine-Clubs Et Ecrans D’Avant-Garde” Cinèmagazine, May 1930. (France) *
— report on a screening of LouLou in Paris

H., R. “For Adolescents Only.” Close Up, May, 1930. (England / Switzerland) *
— write-up by Robert Herring reporting on English censoship of the film

Bouissounousse, J. “Loulou (Die Büchse der Pandora).” Revue du Cinema, May 3, 1930. (France) *
— article in French film periodical

Bouissounousse, J. “Loulou (Die Büchse der Pandora).” Revue du Cinema, May 10, 1930. (France) *
— review in French film periodical: ” . . . magnifique.”

anonymous. “Ma 11 Orakor Ejjeli Eloadas: Pandora Szelenceje.” Uj Kelet, May 17, 1930. (Romania) *
— brief write-up in Hungarian-language Zionist Jewish newspaper

C., A. “A Caixa de Pandora.” O Fan, June 1930. (Brazil) *
— short review in the “Offical Organ of the Chaplin Club” (author may be Almir Castro; see this 2-17-2020 LBS blog post for a clipping of the review): “The best of Pabst’s films. It is a drama begun in dark tones, charged, morbid. Typically Pabst, it’s deeply imbued with his directorial temperament. They are five or six different and equally tragic scenes, which evolve around a young woman, leading to a progressive and almost unconscious fall. Scenario is well built, few inter-titles, drawing from the artist everything he can give. Symbolism. Great staging, great ambience, great characters, great detail, great sensuality – obsessive sensuality. All of it is compressed, dense, compact … Pandora’s Box … is that …That and Louise Brooks.”

De Faria, Octavio. “A Caixa de Pandora.” O Fan, June 1930. (Brazil) *
— one of two newsletter articles in the “Offical Organ of the Chaplin Club” (see this 2-17-2020 LBS blog post for further context)

Nogueira Jr., Annibal. “A Caixa de Pandora.” O Fan, June 1930. (Brazil) *
— one of two newsletter articles in the “Offical Organ of the Chaplin Club” (see this 2-17-2020 LBS blog post for further context)

H., R. “The Week on the Screen.” Manchester Guardian, June 28, 1930. (England) *
— includes a passing reference to the film in profile of Brigitte Helm; “She said how much she would have liked to have been in Pandora’s Box under Pabst, when Ufa contracts forbade it, because Pabst is ‘not one of those directors whom one knows is making one act wrong’.” … “‘Everything depends on the director,’ she said, quoting the success of Marlene Dietrich under Von Sternberg.”

Kino i Zhizn, #15, 1930. (U.S.S.R.) *
— captioned still from the film

L., C. A. “Selections from the New Films.” The Observer, August 24, 1930. (England) *
— brief write-up in London newspaper; “… a piece of work nervous and intelligent in conception, and photographically emotional, but presented, at least to the British public, in a chaotic form which reduces it from an entertainment to a study. Double bill with another German picture, The Age of Seventeen….” (author is Caroline A. Lejeune)

Weinberg, Herbert G. “The Cinema and the Censors.” Close Up, October, 1930. (England / Switzerland) *
— a reworking of Weinberg’s Feb. 15, 1930 letter to the editor in Exhibitor’s Herald World, with about two pages of text in this eight page article relates to American censorship of the film: “The entire last reel of The Box of Pandora was ordered out of this film…. However, the censors cannot see further than their blue-noses.”

Rotha, Paul. The Film Till Now. London: Jonathan Cape, 1930. *
— contains two film stills and two pages of text devoted to the film

Kinematograph. Kinematograph year book 1931. London: Kinematograph Publications Ltd., 1931. *
— a listing under films of 1930 states: “Pandora’s Box. (April .) Louise Brooks. 7,100 ft. A. ” Kine.”. April 17, 1930. Rel. date not fixed. B.I.F.D.” (7,100 ft. indocates the length of the film – A indicates it received an aduklts only rating – while April 17, 1930 notes on which day it was reviewed in Kinematograph magazine.

“Screen.” Newark Star-Eagle, May 16, 1931. (United States) *
— captioned photo of Brooks in Newark, New Jersey newspaper notes that Pandora’s Box will be shown at the local Little theater (supporting advertisement indicating a synchonized soundtrack)

Chiaramonte, N., Scenario, no. 8, 1932. (Italy)
— article in film journal from Rome

Potamkin, Harry Alan. “Pabst and the Social Film.” Hound and Horn, January-March 1933. (United States) *
— referenced

MacDiarmid, Hugh. “A Poet Looks at the Cinema: Poetry and Film.” Cinema Quarterly, Spring 1934. (England) *
— referenced in essay: “It is easy to see that while these elements in modernist literature are along lines appropriate to cinema use, there are other elements which the cinema must progressively eschew. This is what led H. A. Potamkin, discussing “Pabst and the Social Film,” to say the film-producer “no longer dallies with ‘the woman who has been abundantly charged with sex-consciousness’; she is only a figure of speech. Pandora’s Box is inconclusive, not because ‘one should not make films of literature’ — that is a sophistry — nor unsatisfying because Wedekind cannot be cinematised. It is inconclusive and unsatisfying because the literary source is a network of negotiations, and not the experience of people; and the film, in consequence, figures of speech stalking as men and women.”

Merrick, Mollie. “Hollywood in Person.” Dallas Morning News, May 22, 1934. (United States) *
— passing mentioned in article in Texas newspaper; the article was published five days later in Prensa, a Spanish-language Texas newspaper

Peterborough. “London by Day: A Recruit to British Films”. Daily Telegraph, August 14, 1934. (England) *
— passing mention in London newspaper: “One of the last films shown by the Camera [theater] before it was closed early this summer, it is belived by order of the authorities, was the distinctly Liberalistic, if not Marxist, Pandora’s Box. This was based on Wedekind’s two plays, Erdgeist and Die Buchse der pandora. Herr Fritz kortner, perhaps the greatest German actor of his generation, but an emigrant since the Nazis won power, played one of the chief parts in this film…. The director was Herr G. W. Pabst, to-day also an emigrant. Herr Pabst has never been forgiven by the nazis for his magnificent film Kameradschaft….”

Era Staff. “Talking Shop.” The Era, March 13, 1935. (England) *
— passing reference in English trade journal: “The B.B.C. are to broadcast excerpts from the opera Lulu, which is based on two plays by Frank Wedekind, The Earth Spirit and Pandora’s Box. G.W. Pabst’s Pandora’s Box, from the same source, was the film in which Lulu had to be reformed by the salvation Army in order to satisfy the censors.”

Efimov, N(ikolai). G. W. Pabst. Moscow: Gos. ob’edinennoe izd-vo “Iskusstvo”, 1936. *
— pages 44 – 53 of this Russian book largely concern Pandora’s Box: the nine-page excerpt is pictured on the LBS website HERE

Robson, E. W., and M. M. Robson. The Film Answers Back: An Historical Appreciation of the Cinema. London: John Lane, 1939 *
— three passing references in this early work, including this: “The title, too, Under the Roofs of Paris, has a subconscious significance similar to the cellars in the German films and titles like Pandora’s Box. Things are not what they are on the surface. There is something hidden and unusual going on down below, just as there is something ominous contained in Pandora’s Box.”

1940

C., L. “Due Donne Strabilianti”. Tempo, March  6-13, 1941. (Italy) *
— related article focuses on Brooks and the Italian actress Pina Menichelli; the distressing, almost violent tone of the article’s accompanying imagery is stunning for the time, as is the fact that these images were based not on film stills or publicity photos, but seemingly on film cells from Lulu, as the film was titled in Italy. (author is Luigi Comencini)

anonymous. “O Piesa Uitata de Pandora: Stele care s’au stins. — Louise Brooks și piesa lui Frank Wedekind. — Asta Nielsen și doamna Gerhard Hauptmann în Lulu.” Rampa, March 7, 1943. (Romania) *
— article in stage and film publication: “An interesting woman this Louise Brooks.”

Viazzi, Glauco. “Lulu.” Cinéma v. s, July 25 – August 10, 1943. (Italy) *
— article in movie magazine: “To play Lulu, Pabst called the actress Louise Brooks, and his choice could not have been better: equipped with a very fluid mask (certainly more ductile than that of a Brigitte Helm or a Greta Garbo, who in that period had already ‘fixed’ their type, character, inner personality on their face) the American lent herself to giving the character created by Pabst a physical appearance that today, after a good many years, does not yet appear submerged, and made ungainly by the costumes of the time, and above all a sure, characteristic sense of acting all made of allusions and nuances, of sudden and disconcerting bursts placed (in contrast or in adherence) next to refined indolences of gesture, of gait.”

anonymous. The 1944 Film Daily Year Book of Motion Pictures. United States: The Film Daily, 1944. *
— each year as it had for at least a decade, this annual listed every film released in the United States since 1915; in this year’s annual, Pandora’s Box is among the 19,628 titles listed –  it was also starred, indicating it was a “silent picture”; (presumably) it was still available for screening, as it is listed as being distributed through Moviegraphs, Inc. (n.b. in 1943, a Terry Toons cartoon also titled Pandora’s Box was released)

Kracauer, Siegfried. From Caligari to Hitler : a psychological history of the German film, Princeton Unversity Press, 1947. *
— short passage on the film in this seminal book: “Pabst’s subsequent film was Die Büchse der Pandora (Pandora’s Box, 1929), fashioned after Frank Wedekind’s play about Lulu, a woman driven by insatiable sex lusts, who destroys all lives around her, and her own. In the pursuit of his basic designs, Pabst could not but feel attracted by the way in which Wedekind related the exuberance of instinctive life to the deterioration of our society. Contemporaries considered Pandora’s Box a failure. A failure it was, but not for the reason most critics advanced. They held that Pabst was fundamentally wrong in making a silent film from a literary play whose meaning depended mainly upon the fine points of its dialogue. However, the film’s weakness resulted not so much from the impossibility of translating this dialogue into cinematic terms as from the abstract nature of the whole Wedekind play. It was a texture of arguments; its characters, instead of living on their own, served to illustrate principles. Pabst blundered in choosing a play that because of its expressive mood belonged to the fantastic postwar era rather than to the realistic stabilized period. The outcome of his misplaced endeavors was a film which, as Potamkin puts it, ‘is ‘atmosphere’ without content’.”

Wollenberg, H. H. Fifty Years of German Film, London: The Falcon Press, 1948. *
— a passing comment along with one still from the film: “Possibly the most impressive film in this category appeared shortly before the end of the era of the silent film in 1929: Wedekind’s Pandora’s Box, directed by G.W. Pabst.”

Manvell, Roger. Experiment in the Film. London : The Grey Walls Press, 1949. *
— passing reference along with one still: “An attempt of a different kind was the filming by Pabst of Wedekind’s Buchse der Pandora (Pandora’s Box), at first banned by the Munich President of Police, but later on released. The film was not as forceful as the more compact, intense stage-play, but had an exceptionally strong effect thanks to the compelling performances by Louise Brooks, Fritz Kortner, Franz Lederer and the excellent, very much underrated Carl Gotz.”

Pandolfi, Vito. “Wedekind, Berg, Pabst: tre Lulu.” Cinéma, November 15, 1949. (Italy) *
— article in movie magazine: “Pabst opens signs of revolt in Louise Brooks’ eyes that continually light up.”

1950

Rotha, Paul, and Roger Manvell. Movie Parade, 1888-1949; a Pictorial Survey of World Cinema. London: Studio Publications, 1950. *
— early pictorial survey includes one still

Rognoni, Luigi. Cinema muto dalle origini al 1930. Rome: Bianco e Nero – Editore, 1952. *
— two-plus pages of text: “If there is a case in which the interpretative art coincides with the creative one of the director, it is perfectly given by Lulu and Diary; the acting of Louise Brooks, sober and in tune with the character in every detail, supports and gives soul to this last film.”

Savio, Francesco. “Omaggio a Miss Europa.” Cinema, December 1951. (Italy) *
— discussion of the film in related article: Savio was an author, theater director, and important critic who notes, “Her singular image, as it appears in the two Pabst films and in one by Genina, shows us we shouldn’t fear the horrors of our time.”

anonymous. Motion Picture Production Encyclopedia. Hollywood: The Hollywood Reporter, 1952. *
— akin to the earlier Film Daily annuals (see 1944 citation), this reference work listed every feature film released in the United States between 1916 and 1951; in this year’s annual, Pandora’s Box is among the 24,450 titles listed; (presumably) it was still available for screening, as it is still listed as being distributed through Moviegraphs, Inc.

Harrington, Curtis. “The Erotic Cinema.” Sight and Sound, October 1952. (England) *
— long illustrated article, with half a page devoted to Pandora’s Box, by the renowned experimental filmmaker: “… and, most outstandingly, in what I suspect is his masterwork, Lulu, also known as Pandora’s Box (1929). There is a misconception, probably aroused by Paul Rotha’s comments in The Film Till Now, that Lulu failed because of some dislocation between the verbal conception of the leading character in Wedekind’s play, and Pabst’s filmic realization of her, with the American actress Louise Brooks. Today, at any rate, the character as she is realized comes across with absolute brilliance. Lulu is first of all, Wedekind’s conception: an amoral, sexually charged creature who must unwittingly cause the destruction of whosoever she touches. She is nothing less than the living essence of a deep, atavistic force, and she herself comes to an inevitable end, killed by a lust murderer. By Louise Brooks’ smile, a dance movement, a moment of childish playfulness or petulance, Pabst establishes the deadly erotic fascination of Lulu with the sureness and exactitude of a surgeon wielding his scalpel. The director’s hard, photographic realism is throughout at its height. One of the most significant moments concerns the character of Dr. Schon, played by Fritz Kortner, when he expresses with an intellectual, objective irony the hopelessness of his own situation. He is caught, he cannot escape, he knows it and remarks upon it—and we, the spectators, know it and believe it. The experience is like watching a post-Freudian casebook, a theoretical study of the destructiveness of desire, coming to life. Like Stroheim’s films, Pabst’s of this epoch depict lust and violence with continual reference to social dislocations….”

anonymous. “G.W. Pabst.” Film-Kunst, no. 18, 1955. (Germany) *
— includes about a half-page entry on each of Pabst’s films, including Pandora’s Box

Weinberg, H., and L. Boehm. Index to the Creative Work of Pabst, New York, 1955.
— a rather elusive publication

Bachmann, Gideon. “G.W. Pabst.” Cinemages, May 1955. (United States)
— related article

Brooks, Louise. “Mr. Pabst.” Image, September 1956. (United States) *
— related article by the actress in publication of the George Eastman House, Rochester, N.Y.; also published in French as “Monsieur Pabst” in Positif (February 1958); an excerpt is included in Voices of Film Experience: 1894 to the Present, edited by Jay Leyda (New York: Macmillan, 1977); later reprinted in its entirety in “Image” on the Art and Evolution of the Film, edited by Marshall Deutelbaum (New York: Dover Publications, 1979).

Card, James. “Out of Pandora’s Box: New Light on G. W. Pabst from His Lost Star, Louise Brooks.” Image, September 1956. (United States) *
— five page illustrated article in publication of the George Eastman House, Rochester, N.Y.

Dyer, Peter John. “Vivisected.” The Observer, May 12, 1957. (England) *
— review in London newspaper

Brodersen, Vibek. “Pandora i København: Interview med Louise Brooks.” Kosmorama, December 1957. (Denmark) *
— discussion of the film in related article published in Danish film journal

Franklin, Joe. Classics of the Silent Screen. New York: Citadel Press, 1959. *
— referenced on one page feature about Louise Brooks: “But in Germany it was a different story, and G. W. Pabst tailored two grim, psychological sex stories to her abilities: Pandora’s Box (in which, as Lulu, she came to a tragic end at the hands of Jack the Bipper) and the much-censored and now quite notorious Diary of a Lost Girl. Another unusual film followed in France— Beauty Prize— and then she returned to the States to resume her career.”

anonymous. “Film Crew to Start Waltz on Monday.” New York Times, April 25, 1959. (United States) *
— mention of screening in article in New York City newspaper

anonymous. “Przegląd najwybitniejszych filmów niemieckich zrealizowanych w latach 1924-1932.” Express Wieczorny, May 6, 1959. (Poland) *
— mention in article in Warsaw newspaper: “From June 8 to July 3 of this year, the Warsaw cinema ‘Iluzjon’ will host a Review of German Films made in the years 1924-1932. The Review will feature twenty-something films made by outstanding directors….and G. W. Pabst, whose work is represented at the Review by five outstanding films. The set of films by this director includes, among others, such works as Joyless Street (1925), starring Greta Garbo, Pandora’s Box (1929), with the excellent Louise Brooks as Lulu, Diary of a Lost Girl (also starring Louise Brooks) and several other outstanding films.”

anonymous. “Recent Acquisitions, 1956-1959.” The Bulletin of the Museum of Modern Art, Winter, 1959-1960. (United States)
— notes the film was “Acquired through the courtesy of the Danske Film-museum and Cinema, 16. 16mm, 7 reels, Danish flash titles.”

1960

K., R. The Ladder, May 1960. (United States) *
— referenced in untitled letter to the editor in lesbian newsletter: “I read with considerable interest LauraJean Ermayne’s article on lesbian films in the April Ladder. In answer to her request for additions, may I suggest the following which appear to have lesbian content of varying desgrees. These are found in stills printed in L’erotisme au Cinema by Giuseppe Lo Duca (Paris: Pauvert, 1958).” (n.b. LauraJean Ermayne is a psuedonym of the male sci-fi personality Forrest J Ackerman.)

Cuenca, Carlos Fernandez. El cine aleman: Elementos de filmografia critica 1896 – 1960, Madrid: Filmoteca Nacional de España, 1961. *
— brief entry in book

anonymous. “Famous Hollywood Thrillers.” London Times, March 9, 1961. (England) *
— announcement of a screening of Pandora’s Box and Diary of a Lost One at the National Film Theater: “. . . and the two films in which Pabst directed that now almost legendary star of the twenties, Louise Brooks”

McVay, Douglas. “A Season of Pabst and Murnau.” Guardian, April 6, 1961. (England) *
— article in Manchester newspaper about a screening of Diary of a Lost One and Pandora’s Box at the National Film Theater

Gregor, Ulrich. “Lulu im Kino von Asta Nielsen bis Nadja Tiller.” Theater heute 3, March 1962. (Germany) *
— article discusses the Pabst film and Louise Brooks along with other versions of the Wedekind drama

Scheuer, Philip K. “Fun Sophisticated in ‘Mary, Mary’.” Los Angeles Times, June 15, 1962. (United States) *
— mentions screening in article in Los Angeles, California newspaper

Oldrini, G. “Un festival che era tranquillo (Lulu).” Cinema Nuovo, September – October, 1962. (Italy)
— article

Weinberg, Herman G. “Coffee, Brandy & Cigars XXXVIII.” Film Culture, Winter 1962 / 1963. (United States) *
— two paragraphs in column: “I like Jim Card’s music scores for Pabst’s Pandora’s Box and Diary of a Lost One, they are in fact perfectly splendid, and the curator of the George Eastman House, that marvelous film archive in Rochester, has turned out a real labor of love. Who couldn’t be inspired by such a lovely creature as Louise Brooks, the star of both films, was at the time she appeared in them? You’d have to have a heart of stone not to be. Speaking of Pandora’s Box, every would-be director today ought to study it, among other such purely ‘director films’ of the great classic age of the cinema. What a marvel of subtlety and cinema sophistication it is! It contains one of the best sequences ever filmed — the frenzied preparation backstage of an opulent musical extravaganza just before curtain-rise. Broken up into a thousand details, each dovetailing into the next (Pabst was a master at this) it literally takes your breath away with its choreographed movement. The effect is ravishing not only to the eye but to the vasomotor system.”

Kennedy, James. “Nation Film Theater Anthology.” Guardian, July 24, 1964. (England) *
— mention in article in Manchester newspaper about a screening at the National Film Theater,

Brooks, Louise. “Pabst and Lulu.” Sight and Sound, Summer 1965. (England) *
— Brooks discusses the making of the film; reprinted in Pandora’s Box, Classic Film Scripts (New York: Simon and Schuster, 1971), Women and the Cinema: A Critical Anthology (New York: Dutton, 1977), Lulu in Hollywood (New York: Alfred A. Knopf, 1982), Sight and Sound: a fiftieth anniversary selection (Faber & Faber, 1982) and Roger Ebert’s Book of Film (New York: Norton, 1997). French translation published in Louise Brooks: Portrait d’une anti-star (Paris: Editions Phébus, 1977) and Japanese translation in Ruizu Burukkusu to “Ruru” (Toyko: Chuo Koronsha, 1984); also published in German translation in Geboren unter jedem Himmel: Erinnerungen berühmter Schauspieler (Berlin: Henschelverlag, 1986), edited by Renate Seydel; in Portuguese translation in Homenagem a Louise Brooks (Lisbon: Cinemateca Portuguesa, 1986); translated by Silva Tomanic and published as “Pabst i Lulu” in 15 dana: ilustrirani casopis za umjetnost i kulturu (Croatia?, 1990); five page illustrated article reprinted as “Pabst es Lulu” in Film Vilag no. 4, 1991 (Hungary).

Borde, Raymond; Buache, Freddy; and Courtade, Francis. Le cinéma réaliste allemand. Lyon, France: Serdoc, 1965. *
— contains a 13 page chapter on the film as well as a page of film stills (number 37 in a series issued by Cinéma d’aujourd’hui)Buache, Freddy. G. W. Pabst. Lyon: Société d’études, recherches et documentation cinématographiques, 1965. *
— contains a chapter on the two films Brooks made with Pabst, as well as related images

Gebauer, Dorothea. Der Deutsche Stummfilm: Eine Foto-Austellung. Wiesbaden-Biebrich: Goethe Institut and Deutsches Institut für Filmkunde, 1965. *
— a small catalog “The German Silent Film: An Exhibition of Still Photographs” contains two pages on the film

Amengual, Barthélemy. Georg Wilhelm Pabst. [Paris] France: Editions Seghers, 1966. *
— contains a four page plot summary as well as images and refrerences to the film

Goyal, Trishla. The Marketing of Films. Intertrade Publications: Calcutta, India 1966. *
— one and 1/4 page discussion of the film

Price, James. “Daisy and Lulu.” London Magazine, August, 1966. (England) *
— Brooks and Pandora’s Box are discussed

Sidler, Viktor. “Aus den Schatzen der Cinematheque.” Cinema, ?? 1967. (Switzerland) *
— full page article in Zurich publication with still (exact publication date uncertain)

Luft, Herbert, “G. W. Pabst.” Films and Filming, April 1967. (England)
— article

Pierre, Sylvie. “Le considérable talent de G. W. Pabst.” Cahiers du Cinéma, September 1967. (France) *
— included in the accompanying “Biofimogaphie de G. W. Pabst” by Patrick Brion

Suchianu, D. I. “LOULOU (film mut-Pabst).” Cinema, December 1, 1967. (Romania) *
— article in film magazine

Fernandez Cuenca, Carlos. G.W. Pabst. Madrid: Filmoteca Nacional de Espana, 1967. *
— discussion of the two films Brooks made with Pabst in “La Trilogia Erortica”

anonymous. “The Box of Pandora.” Classic Film Collector, Summer 1968. (United States)
— 21 captioned photos of the film

Aubry, Yves and Petat, Jacques. “La seule qui nous reste,” L’Avant-Scene, July 1968. (France) *
— commentary on the film in the G. W. Pabst issue of Anthologie du Cinéma #37

Musée du cinéma (Brussels, Belgium), Staatliches Filmarchiv der DDR, and Cinémathèque royale de Belgique. Fantastique et Réalisme Dans Le CinéMa Allemand, 1912-1933. Bruxelles: Musée du cinéma, Palais des beaux-arts, 1969. *
— museum monograph contains two pages apiece on the two films Brooks made with Pabst

1970

anonymous. “Lulu. Il felice incontro di G.W. Pabst e Louise Brooks.” Cinema, June 1970. (Italy)
— eight page article about softcore cinema published in Milan film magazine

Manvell, Roger and Heinrich Fraenkel, The German Cinema, New York: Praeger Publishers, 1971. *
— includes a couple / three passages and two stills: “The theatre provided what literature could not, including, for example, Pabst’s fine adaptation of Wedekind’s Pandora’s Box (1929)…. It developed into one of Pabst’s more subtly understanding films about women; he and Lubitsch were the first great directors of women, giving stature to actresses who were either unknown (such as Garbo), or ill-used in other films (such as Brigitte Helm), or who
had totally unknown qualities ready to be revealed, like Louise Brooks, whom Pabst was to bring from America for his next film, Pandora’s Box … Louise Brooks plays Lulu, a young prostitute driven to self-destruction by sexual need, a destruction which engulfs the succession of men with whom she is involved.”

author unknown. Hollywood Reporter, March 26, 1971. (United States)
— film credits

Sidler, Viktor. “Aus den Schatzen der Cinémathèque: Die Büchse der Pandora.” Cinéma, no. 66 – 67, 1971. (Switzerland) *
— article in Zurich film journal

Pabst, G. W. Pandora’s Box (Lulu): a film. New York: Simon & Schuster, 1971. *
— contains the shooting script of the film (translation by Christopher Holme), cast listing and credits, as well as dozens of stills; brief introduction by Brooks, an article by the actress entitled “Pabst and Lulu,” and an essay by film writer Lotte H. Eisner entitled “Pabst and the Miracle of Louise Brooks.”

Brooks, Louise. “Actors and the Pabst Spirit,” Focus on Film. February 1972. (England) *
— related two page article with illustrations; slightly alternative version published in French as “L’autre cote de la camera” in Louise Brooks: Portrait d’une anti-star, edited by Roland Jaccard (Paris: Editions Phébus, 1977) and in its original English as “The Other Side of the Camera” in Louise Brooks: Portrait of an anti-star, edited by Roland Jaccard (New York: New York Zoetrope, 1986)

author unknown. CinemaTV Today, April 8, 1972. (United States)
— review

author unknown. Variety, April 19, 1972. (United States)
— review

author unknown. Films and Filming, June, 1972. (England)
— review

Dawson, Helen. “Briefing.” The Observer, June 25, 1972. (England) *
— annotated program listings in London newspaper

Thirkell, Arthur. “Television Mirror.” Daily Mirror, June 29, 1972. (England) *
— TV program listings in London newspaper: “Classic about a prostitute who unwittingly inspires evil. Compelling and nightmarish.”

Pierre, Sylvie. “El Considerable Talento de G. W. Pabst.” Filmoteca, no. 16, 1972 – 1973 (Spain) *
— mention and brief discussion in article in Spanish film periodical

Krusche, Dieter. Reclams Filmführer, Stuttgart, Germany: P. Reclam, 1973. *
— contains a section on the film

Lemaster, Bud. “Ratings.” Classic Film Collector, Winter 1973. (United States) *
— review

Rayns, Tony. “Retrospective.” Monthly Film Bulletin, May, 1974. (England) *
— mention in publication of the British Film Institute: “None of these scenes or effects could have been brought off had not Lulu been a convincing focus for them, and it seems that much of the credit of the credit for their sustained success must go to Louise Brooks, whom Pabst clearly found the most stimulating of collaborators. Her ‘passive’ performance balances between innocence and childishly fleeting – but intense – emotions with candour and precision. Nothing in it is ‘actorish’; Pabst found the character in the actress, and drew it out through counterpoint, gesture and inflection.”

Robinson, David. “A Buñuel might-have-been.” London Times, August 2, 1974. (England) *
— mention in English newspaper: “… few actresses have evoked so potent a mingling of the innocent and the vicious as Louise Brooks as Wedekind’s Lulu (Pabst’s Pandoras’s Box)”

anonymous. “Pandora’s Box.” Thousand Eyes Magazine, # 2, 1975. (United States) *
— capsule review

anonymous. “Calagary.” Box Office, Decemeber 8, 1975. (United States) *
— brief write-up about Edmonton screening

anonymous. “Thrills.” Winnipeg Free Press, November 10, 1977. (Canada) *
— brief write-up in Manitoba newspaper

Atwell, Lee. G.W. Pabst. New York: Twayne Publishers, 1977. *
— contains material on the film within the chapter titled “The Years with Louise Brooks”

1980

anonymous, “Loulou.” Le Film Français, January 11, 1980. (France)
— article

anonymous. “Piece together original Pabst film of 1929 with Louise Brooks’ Lulu.” Variety, February 13, 1980. (United States) *
— article

V., G. l’Humanite-dimanche, February 17, 1980. (France)
— article by Gerard Vaugeois

Pascaud, Fabienne. Télérama, February 20, 1980. (France)
— article in French publication

Palmier, Jean Michel. “La boîte à Pandore de Pabst.” Les Nouvelles Littéraires, Febuary 21-28, 1980. (France) *
— half-page article in French newspaper

anonymous. “Pabst’s Lulu lauft in Paris.” Die Welt, February 22, 1980. (Germany)
— article in Hamburg newspaper

Marmin, Michel. “Incandescence.” Le Figaro, February 22, 1980. (France) *
— short article in Paris publication

Guibert, Hervé. “Le cyclone.” Le Monde, February 23, 1980. (France) *
— article in Paris film journal

Serceau, Daniel. “Loulou.” La Revue du Cinema / Image et Son, March, 1980. (France) *
— article in Paris film journal

Veillon, Olivier-René. “Le Retour de Loulou.” Cinématographe, March, 1980. (France) *
— illustrated article in Paris film journal

Pétat, Jacques. “De quelques films allemands d’actualite: Loulou, de G. W. Pabst.” Cinéma 80, April, 1980. (France) *
— two page article about a restored version of the film in Paris film journal

Garbicz, Adam and Klinowski, Jacek. Cinema, The Magic Vehicle. New Jersey: Scarecrow Press, 1980. *
— contains short entries on significant films including Pandora’s Box

Gele, C. “Precisions au sujet de ‘Loulou’.” L’Avant Scene du Cinema, February 15, 1981. (France) *
— article

Valentine, Penny. “The Week in View.” The Observer, March 15, 1981. (England) *
— annotated program listings in London newspaper

Robinson, David. “Films On TV.” London Times, March 21, 1981. (England) *
— mentioned in London, England newspaper: “the magnetic and beautiful American star Louise Brooks as the fatal Lulu.”

Kock, Ivode. “Lulu.” Andere Sinema, May, 1981. (Belgium)
— article in Antwerp publication

author unknown. Radio Times, May 23, 1981. (England)
— letter from the composer of the music for the television screening of the film on March 21, 1981.

Ramasse, François. “Le Sexe de Pandora.” Positif, July – August, 1981. (France) *
— illustrated article in film journal

Arbaudie, Maria-Claude. “Lifting pour Pabst.” Le Film Français, nr. 1878, November 1981. (France)
— article

Peary, Danny. Cult Movies. New York: Dell, 1981. *
— includes an illustrated, five page entry on Pandora’s Box: “… for American film scholars and critics the recent availability of a restored print of German director G. W. Pabst’s Pandora’s Box, which has turned out to be a masterpiece of the silent era, has been a wonderful revelation.”

anonymous. “Classic Silent Film to be Shown.” Capital, September 16, 1982. (United States) *
— article in Annapolis, Maryland newspaper

Cowie, Peter. “Pandora’s Box.” The Movie, number 110, 1982. (England) *
— 2 page illustrated look at the 1929 film, with 8 stills and poster artwork

Kael, Pauline. 5001 Nights at the Movies. New York: Holt, Rinehart and Winston, 1982. *
— contains a half-page entry on the film by the famed critic with whom Brooks once corresponded: “Pabst, one of the giants of the screen, is perhaps most famous for his treatment of sex, violence, and abnormal psychology, and Wedekind’s sex tragedy provided startling material…. For sheer erotic dynamism, the backstage scenes on the opening night of a show Lulu is in have never been equalled…. Moving through the chiaroscuro, Louise Brooks, with her straight back and strong shoulders, seems to have her own form of sexuality—preconscious yet intuitively all-knowing….”

anonymous. “Silent Film Scheduled.” New York Times, January 14, 1983. (United States) *
— brief article about screening in New York City newspaper

anonymous. “The Box of Pandora.” Classic Images, May, 1983. (United States)
— review of video tape release by the Classic Video Cinema Collectors Club

Elsaesser, Thomas. “Lulu and the Meter Man.” Screen, July-October, 1983. (United States) *
— thirty three page scholarly article

Foerster, Annette. “De stomme taal van de beelden.” Skrien, Summer 1983. (Netherlands)
— illustrated article in Amsterdam film journal

Gramann, K. “Eindelijk terug! Asta Nielsen, Louise Brooks, G. Garbo.” Skrien, September 1983. (Netherlands)
— collection of articles and interviews on three reissued silent films by G.W. Pabst in Amsterdam film journal

Rothstein, Meryvn. “Louise Brooks Returns in 2 Classics.” New York Times, September 16, 1983. (United States) *
— article in New York City newspaper

Syna, Sy. “1929 Pandora’s Box treats sordid subject with artistic realism.” New York Tribune, September 17, 1983. (United States) *
— article with still in New York City newspaper

Leogrande, Ernest. “Two movies for Louise Brooks Fans.” Daily News, September 18, 1983. (United States) *
— article with still in New York City newspaper

anonymous. “Goings on About Town.” New Yorker, September 19, 1983. (United States) *
— brief article in magazine

Morrone, John. “Louise Brooks, My One and Only.” New York Native, September 26, 1983. (United States) *
— article with still in New York City newspaper

Sarris, Andrew. “The Legend of Louise Brooks.” Village Voice, September 27, 1983. (United States) *
— article in weekly publication

Nicholas, Irene B. “New Looks at Brooks.” Chelsea Clinton News, September 29, 1983. (United States) *
— article in Chelsea, New York newspaper

Carr, Jay. “Louise Brooks Casts Her Spell.” Boston Globe, October 12, 1983. (United States) *
— article in Massachusetts newspaper: “It isn’t enough to see stills of Louise Brooks.”

anonymous. Eldorado: Homosexuelle Frauen und Männer in Berlin, 1850-1950. Berlin: Frölich & Kaufmann, 1984. *
— edited volume containing three page section on the film by Rosi Kreische

Shepard, Richard F. “Going Out Guide.” New York Times, May 28, 1984. (United States) *
— short write-up in New York City newspaper

Estrin, Eric. “Pandora’s box.” Los Angeles Magazine, July 1, 1984. (United States) *
— television program review in Los Angeles, California magazine

anonymous. “Flute Music for Pandora.” Miami Herald, October 11, 1984. (United States) *
— brief story in Florida newspaper; “A special treat awaits film buffs this weekend at the Beaumont Cinema on the University of Miami campus. The 1928 silent film Pandora’s Box will be shown with a live, improvised flute accompaniment by Althea Kaplan and Oaul Messina.”

Carr, Jay. “Vintage Stock.” Boston Globe, September 8, 1985. (United States) *
— capsule review in Massachusetts newspaper

Vance, Kelly. “Look back in wonder.” East Bay Express, September 13, 1985. (United States) *
— one page article on Queen Kelly and Pandora’s Box in Berkeley, California news weekly

Edwards, Gregory J. The Book of the International Film Poster. London: Tiger Books International, 1985. *
— contains brief textual and illustrative material related to the film

Monaco, James. The Connoisseur’s Guide to the Movies. New York: Facts on File, 1985. *
— contains an entry on Pandora’s Box

Combs, Richard. “Decline and Fall. Pandora’s Box.” Listener, February, 1986. (England)
— review in magazine

Atkinson, Terry. “Turn-ons and turn-offs in current home entertainment releases.” Los Angeles Times, June 10, 1986. (United States) *
— capsule review of Embassy video release: “Vivacious, intelligent and unfathomable, Louise Brooks looms as an even more intriguing actress of the late silent era than Garbo for some film enthusiasts. In this 1929 G. W. Pabst-directed German classic, Brooks’ femme fatale-the most notable role of her too-brief career-is a twist on the vamps of the time: She naively inspires evil. The often quite silly story (Lulu’s men include Jack the Ripper!), the sexual tension, remarkable tableaux of stunningly framed shots and the one-of-a-kind star performance are retained in a very good if not pristine print, nicely scored.”

anonymous. “VPRO laat legendarische Louise Brooks herleven.” Leeuwarder Courant, July 25, 1986. (Netherlands) *
— article in Leeuwarden newspaper

Everson, William. “Pandora’s Box.” Video Review, September, 1986. (United States) *
— review of the Embassy video release

Green, Martin and Swan, John. The Triumph of Pierrot. New York: Macmillan Publishing Company, 1986. (United States) *
— book on the Commedia dell’Arte and the Modern Imagination: “G.W. Pabst dramatized this pursuit in a dark and shadowed staircase scene in his version of the Lulu plays, Pandora’s Box (Die Buchse der Pandora, 1928-1929). Its Lulu was that epitome of American Jazz Age sexiness, Louise Brooks, complete with her sensual Pierrot look.”

Ott, Frederick W. The Great German Films. Secaucus, New Jersey: Citadel Press, 1986. *
— illustrated four page section on Pandora’s Box

Rentschler, Eric (editor). German Film & Literature: Adaptions and Transformations. New York and London: Methuen, 1986. *
— includes Thomas Elsaesser’s essay “Lulu and the Meter Man: Pabst’s Pandora’s Box [1929].”

Carr, Jay. “A Long, Dazzling ‘Napoleon’ and a Torrid ‘Pandora’s Box’.” Boston Globe, February 22, 1987. (United States) *
— brief review in Massachusetts newspaper of the Embassy Home Entertainment video release: “On the strength of this performance alone, Brooks will be remembered as one of film’s great femmes fatales.”

Hunter, Charles. “8:45 Film: Pandora’s Box.” Irish Times, February 22, 1986. (Ireland) *
— short article in Dublin, newspaper

Schmidt, E. Jr. “G.W. Pabst, der regisseur der neuen Sachlichkeit.” Blimp, Spring, 1987. (Germany)
— includes credits, portrait and stills

anonymous. “Pandora’s Box.” Big Reel, October 15, 1987. (United States)
— reprints the Kino International press release and scene still

Dahlke, Günther, and Günter Karl. Deutsche Spielfilme von Den AnfäNgen Bis 1933 : Ein FilmfüHrer. Berlin: Henschel, 1988. *
— contains “Die Büchse der Pandora” by Christiane Mückenberger

Pratley, Gerald. “Living room has become a better movie theater.” Toronto Star, October 30, 1988. (Canada) *
— capsule review of video release in Toronto newspaper

Donovan, F. “Loulou.” Cinema 89, September, 1989. (France)
— includes credits in Paris film journal

Petro, Patrice. Joyless Streets. Princeton, New Jersey: Princeton, New Jersey, 1989. *
— discussion and references to Brooks and Pandora’s Box in this study of women and melodramatic representation in Weimar Germany

1990

Kaplan, E. Ann. (editor) Psychoanalysis and Cinema. New York and London: Routledge, 1990. *
— discussion of Pandora’s Box in Janet Bergstrom’s “Psychological Explantion in the Films of Lang and Pabst.”

Rentschler, Eric (editor). The Films of G. W. Pabst: An Extraterritorial Cinema. New Brunswick: Rutgers University Press, 1990. *
— contains “The Erotic Barter: Pandora’s Box”

Schlemmer, Gottfried, and Riff, Bernhard and Haberl, Georg. (editors) G. W. Pabst. Munster: MAkS Publikationen, 1990. *
— papers from an international symposium held November, 1986 in Vienna, Austria; includes Janet Bergstrom’s “Psychologische Erklarung in Den Filmen von Pabst und Land” (“Psychological Explantion in the Films of Lang and Pabst”) and Thomas Elsaesser’s “Louise Brooks, Pabst und Die Buchse der Pandora (Lulu und der Stromableser)” (“Lulu and the Meter Man: Pabst’s Pandora’s Box”)

Thomas, Nicholas. International Dictionary of Films and Filmmakers: Volume I Films. Chicago: St. James Press, 1990. *
— two page entry on Pandora’s Box by Barbara Salvage

Raymond, Cathy. “Lulu recast: G. W. Pabst’s cinematic adaptation of Wedekind’ plays.” Ars Semeiotica: Kodikas/Code. An International journal of semiotics, vol. 14, nnr. 1-2, January-June 1991.
— long article in academic journal

Wagner, J. “Pandora’s Box: a movie is still being watched.” Spectator, number 2, 1991. (England)
— article illustrated with stills from the film

Brooks, Louise. “Pabst es Lulu.” Film Világ, no. 4, 1991. (Hungary) *
— Brooks discusses the making of the film; printed earlier as “Pabst and Lulu ” in Sight and Sound in Summer 1965

anonymous. “Vampires and Sleepwalkers.” Ithancan, October 10, 1991. (United States) *
— discussion of the film in the student newspaper at Ithaca College in Ithaca, New York

Coates, Paul. The Gorgon’s Gaze. New York: Cambridge University Press, 1991. *
— contains partial chapter on Pandora’s Box

Doane, Mary Ann. Femmes Fatales. New York and London: Routledge, 1991. *
— contains “The Erotic Barter: Pandora’s Box” — Brooks also appears on the cover

Huffhines, Kathy Schulz. Foreign Affairs. San Francisco: Mercury House, 1991.
— National Society of Film Critics’ video guide to foreign films, contains “Pandora’s Box” by Jay Carr

Pinkerton, R. N. “Lulu Opens Pandora’s Box.” Classic Images, June, 1992. (United States)
— two page article in film magazine

Hicks, Chris. “Pandora’s Box.” Deseret News, June 12, 1992. (United States) *
— article in Salt Lake City, Utah newspaper

Gandert, Gero. Der Film der Weimarer Republik 1929. Berlin: Walter de Gruyter, 1993. (Germany) *
— contains a 9 page chapter on the film

Burchall, Greg. “Brooks makes a riveting return.” Melbourne Age, May 11, 1993. (Australia) *
— Melbourne newspaper article about Pandora’s Box and Jen Anderson’s score

Smith, Michael. “Promptings.” Melbourne Age, May 14, 1993. (Australia) *
— Melbourne newspaper review of the Pandora’s Box and Jen Anderson’s score

Dolan, Sarah. “At the Cinema.” Herald Sun, May 19, 1993. (Australia) *
— capsule review in Melbourne newspaper

Chalon, Mark. “From 1929 ‘Pandora’s Box’ Emerges a Lulu of an Actress.” Los Angeles Times, October 14, 1993. (United States) *
— article in California newspaper: “Pabst, the director of Pandora’s Box, rescued Brooks from a stalled career in Hollywood and turned her into a diva of the German cinema. He apparently recognized what Paramount (where Brooks was stuck in a nowhere contract) failed to — that she could light up the silent screen with cool eroticism.”

Purvis, Ray. “Review of Pandora’s Box.” West Australian, January 16, 1994. (Australia) *
— article in Perth newspaper on the film and accompanying score by Jen Anderson

Hawker, Philippa. “Screen greatness, after years of silence.” Melbourne Age, February 10, 1994. (Australia) *
—review in Melbourne newspaper of Pandora’s Box and Jen Anderson’s score

Naglazas, Mark. “Brooks Radiant in Silent Classic.” The West Australian, February 16, 1994. (Australia) *
—review in Perth newspaper of Pandora’s Box and Jen Anderson’s score

Cristalli, Paola. “Tragico fascino della Lulu di Louise Brooks.” Cineteca, August 5, 1994. (Italy) *
— article in Italian film journal

DeBartolo, J. “Video Tape Reviews.” Classic Images, September, 1994. (United States)
— review of video tape release

Rapp, Bernard and Lamy, Jean Claude (editors). Dictionnaire des films. Paris: Larousse, 1995. *
— includes a brief entry (cast, credits and plot) by Michel Marie

Creed, Barbara. “Film.” Melbourne Age, January 13, 1995. (Australia) *
— capsule review in Melbourne newspaper of the film and Jen Anderson’s score

Sullivan, Monica. “Pandora’s Box (original title: Buechse der Pandora, Die).” Movie Magazine International, May 3, 1995. *
— article in film journal

Kelp, Larry. “Orchestra Scores Box of Sex, Betrayal.” Press Democrat, May 5, 1995. (United States) *
— film review in Santa Rosa, California newspaper: “The world premiere of its new work marks Club Foot’s first appearance as part of the San Francisco Film Festival. [Louise] Brooks’ uncanny ability to seem simultaneously innocent and an irresistible vamp comes through clearly as she plays Lulu.”

LaSalle, Mick. “Pandora’s Box Is Steeped in Critical Hysteria.” San Francisco Chronicle, May 5, 1995. (United States) *
— article in San Francisco, California newspaper

Walters, Barry. “Club Foot mixes horror and humor.” San Francisco Examiner, May 5, 1995. (United States) *
— article in San Francisco, California newspaper

author unknown. “Loulou.” Séquences, May / June, 1995.
— illustrated article in the form of a psychoanalytic analysis

Thomas, Kevin. “Orchestra Adds Sounds to Silent ‘Pandora’s Box’.” Los Angeles Times, June 12, 1995. (United States) *
— article in Los Angeles, California newspaper: “A figure of incandescent, willful amorality with a dazzling, irresistible smile.”

Musetto, V.A. “Pandora meets sounds of music.” New York Post, July 25, 1995. (United States) *
— article in New York City newspaper regarding screening with Clubfoot Orchestra

Mathews, Jack. “Heads Up! Pandora’s Box.” Newsday, July 26, 1995.(United States) *
— brief review in New York City publication

amorosi, a.d. “Pandora’s Box.” City Paper, July 27, 1995. (United States) *
— short review Philadelphia, Pennslyvannia publication

Holden, Stephen. “A Silent-Film Femme Fatale As Victim, Too.” New York Times, July 28, 1995. (United States) *
— article regarding screening with Clubfoot Orchestra in New York City newspaper

anonymous. “Pandora’s Box.” Village Voice, August 1, 1995. (United States) *
— brief review (author may be Jeff Taubin)

Sterritt, David. “Lincoln Center Also Opened Pandora’s Box.” Christian Science Monitor, August 1, 1995. (United States) *
— brief discussion of the film and the Club Foot Orchestra score in newspaper article: “Louise Brooks’s portrayal of the title character is one of the most celebrated female performances of the silent-film era, and Pabst uses nuances of light, movement, and montage to captivating effect.”

Littau, Karin. “Refractions of the Feminine: The Monstrous Transformations of Lulu.” MLN, September, 1995. (United States) *
— article in academic journal

Sterritt, David. “Innovative Composers Tap Out New Tunes for Old Movies.” Christian Science Monitor, September 12, 1995. (United States) *
— discussion of the film and the Club Foot Orchestra score within newspaper article

Kasten, Jürgen. Metzler Film Lexikon. Stuttgart, Weimar: Verlag J.B. Metzler, 1995. *
— contains a section on “Die Büchse der Pandora.”

Koebner, Thomas. Filmklassiker. Stuttgart: Philipp Reclam, 1995. *
— includes a seven page chapter on the film

Williams, Sue. “Behind the facade with front up.” The Australian, January 9, 1996. (Australia) *
— capsule review in Perth newspaper regarding Australian television screening

Kermabon, J. “Sous les L de ‘L’ange bleu’.” Vertigo, 1996. (France)
— illustrated article

Tracey, Liz and Pokorny, Sydney. So You Want to Be a Lesbian?: A Guide for Amateurs and Professionals. New York: St. Martin’s, 1996. *
— contains a capsule entry: “Pandora’s Box (1928). Directed by G. W. Pabst. Louise Brooks oozes silent sex appeal and positions herself as the only femme fatale to die for. The scene where she dances with another woman is legendary and well worth having a VCR with slow motion.”

McDonagh, Maitland. The Fifty Most Erotic Films of All Time: From Pandora’s Box to Basic instinct. Secaucus, N.J.: Carol Pub. Group, 1996. *
— contains a four page chapter on the film; Brooks as Lulu appears on the cover

Jacobsen, Wolfgang. G. W. Pabst. [Germany]: Argon, 1997. *
— includes material on the two films Brooks made with the director

Schechter, Harold. A to Z Encyclopedia of Serial Killers. New York: Pocket, 1997. *
— capsule entry; “Pandora’s Box (1928). Classic silent film by G. W. Pabst, starring screen legend Louise Brooks as the femme fatale Lulu, who ends up as a streetwalker in London. And guess who her very first (and last) customer is ?”

Rousseau, Nita. “L’Etoile Perdue.” Le Nouvel Observateur, April 5, 1997. (France) *
— article in television supplement of this French newspaper; Brooks is also on the cover of the TV supplement, TéléObs

Benedict, David. “Choice: Film.” Independent, February 18, 1998. (England)
— capsule review in London newspaper: “As the beautiful Lulu, Brooks devastates both men and women, a shocking (and shockingly rare) study in female power.”

Ebert, Roger. “Pandora’s Box.” Chicago Sun Times, April 26, 1998. (United States) *
— article in Illinois newspaper reprinted in The Great Movies (New York: Broadway Books, 2002)

Koll, Gerald. Pandoras Schätze: Erotikkonzeptionen in den Stummfilmen von G.W. Pabst. Munchen: Diskurs Film Verlag, 1998. *
— contains a lengthy, illustrated chapter on Pandora’s Box

Maltin, Leonard. Leonard Maltin’s Movie & Video Guide. New York: Signet, 1998. *
— capsule review: “Hypnotic silent film stars legendary Brooks as flower girl who becomes protégée–then wife–of editor, with bizarre and unexpected consequences. Striking sexuality and drama, with Brooks an unforgettable Lulu.”

Malcolm, Derek. “G.W. Pabst: Pandora’s Box.” Guardian, July 22, 1999. (England) *
— article in English newspaper

Sherwell, Subhi. “Subhi Sherwell Picks Over the Bones of the Contemporary Moscow Arts Scene.” Moscow News, October 27, 1999. (Russia) *
— brief write-up in Moscow newspaper: “Pandora’s Box: The film that made the great Louise Brooks. The oh-so subtly portrayed shocking adventures of a Berlin prostitute.”

Darren, Alison. The Lesbian Film Guide. London: Continuum International Publishing Group, 1999. *
— contains an entry on Pandora’s Box

Koebner, Thomas. Halbnah. St. Augustin, Germany: Gardez Verlag, 1999.
— two-page passage on Pandora’s Box – Brooks also appears on the cover

Thomas, Douglas B. The Early History of German Motion Pictures. Washington, D.C.: Thomas International, 1999. *
— contains a page of material on Pandora’s Box

Zimmerman, Bonnie. Encyclopedia of Lesbian Histories and Cultures: Volume 1. New York: Garland Publishing, 1999. *
— “It is difficult to locate the first cinematic representation of a lesbian, given that female identified desire is often depicted in veiled terms. In spite of this limitation, Countess Gerschwitz (Alice Robert) in G. W. Pabst’s Die Büchse der Pandora (Pandora’s Box [1929]) seems to be the premier lesbian of cinema. Geschwitz pursues a heterosexual affair as the narrative progresses, she does so to protect the woman she loves, Lulu (Louise Brooks). As with other lesbian representations, the countess’s desires are heavily implied – especially in a waltz scene when Lulu and Geschwitz dance together – but do not take explicit shape.”

2000

Musetto, V. A. “Lulu in Brooklyn.” New York Post, March 26, 2000. (United States) *
— article in New York City newspaper

Morandini, Morando. Dizionario dei film. Bologna, Italy: Zanichelli, 2000. *
— includes a brief entry on the film

Bühler, Philipp. “Und plötzlich singt Louise Brooks.” Berliner Zeitung, March 31, 2001. (Germany) *
— article in Berlin newspaper

anonymous. “Pandora’s Box.” Boston Phoenix, July 20, 2001. (United States) *
— capsule review in Boston, Massachusetts weekly

Thomajan, Dale. “Pandora’s Box.” TV Guide Online, circa 2001. *
— review on entertainment website; “Playing the role that later earned her a large cult of admirers, Louise Brooks is unforgettable.”

Hadleigh, Boze. The Lavender Screen: The Gay and Lesbian Films. New York : Citadel Press, 2001. *
— a few references and an image

McCormick, Richard W. Gender and Sexuality in Weimar Modernity. New York: Palgrave, 2001. *
— contains discussion of Pandora’s Box along with other references to Brooks

Simpson, Paul. Rough Guide to Cult Movies. London: Rough Guide, 2001. *
— survey of favorite films of all time; contains an entry on Pandora’s Box

Whitehead, Mark. Jack the Ripper. London: Pocket Essentials, 2001. *
— contains an entry on Pandora’s Box

Brown, Hannah. “Silence speaks.” Jerusalem Post, January 3, 2002. (Israel) *
— article in Jerusalem newspaper

Petrakis, John. “Screen Gems.” Chicago Tribune, January 11, 2002. (United States) *
— short review in Chicago, Illinois newspaper: “Brooks’ status as a silent screen sex goddess is permanently fixed.”

Potton, Ed. “Videos and DVDs.” The Times, June 22, 2002. (England) *
— DVD review in London newspaper: “Abandoned by Hollywood, Brooks reached the erotic zenith of her silent career under the tutelage of one of Weimar Germany’s most important directors. Pabst’s fusion of two Frank Wedekind plays sees her as Lulu, an innocent girl whose sexual magnetism dooms men, women and ultimately herself. l DVD Extras: Looking For Lulu, a documentary on the life of Brooks, a woman whose hairstyle made her an icon for the flapper generation and whose pervasive sensuality blazed a trail for femmes fatales from Lauren Bacall to Sharon Stone.”

Stanbrook, Alan. “DVD’s.” Sunday Telegraph, June 30, 2002. (England) *
— brief DVD review in London newspaper: “G.W. Pabst’s stylish 1929 adaptation of Wedekind’s once notorious play stars Hollywood’s Louise Brooks in her most spellbinding role. Video extras include a profile of the silent temptress who, to modern eyes, is sexier than Garbo.”

Williams, Evan. “Movie bite.” The Australian, July 4, 2002. (Australia) *
— article in Perth newspaper: “Obsessive, as always, about the women he admired, Kenneth Tynan rhapsodised over Louise Brooks after his umpteenth viewing of this movie: ‘this shameless urchin tomboy, this unbroken, unbreakable porcelain filly amoral but totally selfless.’ Kevin Brownlow called her ‘a beauty unparalleled in film history.’ As Lulu, she’s the fixed, hypnotic centre of G.W.Pabst’s silent masterpiece, made in Germany in 1928 and a landmark in world cinema. It’s a story of infatuation and seduction involving Brooks’s temptress and various of her victims, and remains compulsively watchable. Brooks once described the film’s understated ending in the magazine Sight and Sound: ‘It is Christmas Eve, and Lulu is about to receive the gift which has been her dream since childhood. Death by a sexual maniac’ (that is, Jack the Ripper). The film had a big-screen revival in Sydney in 1992 with string quartet accompaniment; the small screen will do.”

Anderson, Doug. “Film of the week.” Sydney Morning Herald, July 7, 2002. (Australia) *
— short article Sydney newspaper in which the film is named “film of the Week”

French, Philip. “This Week’s Video Releases.” Observer, July 7, 2002. (England) *
— DVD review in London, England newspaper: “Pandora’s Box (1928, PG, Second Sight, DVD/Retail) G.W. Pabst’s stunning adaptation of Frank Wedekind’s Lulu with an unforgettable performance by the 22-year-old Louise Brooks as the naive sensualist and courtesan who leaves a wake of broken admirers behind her as she heads for her own destruction. This DVD includes an hour-length documentary, featuring an interview with Louise Brooks.”

Partridge, Des. “Movie Reviews.” Courier-Mail, July 9, 2002. (Australia) *
— brief write-up related to television screening in Sydney newspaper: “American actress Louise Brooks, pictured centre, illuminated German filmmaker G.W. Pabst’s German-made silent film based on a play popular in Berlin. Brooks, famous as a vamp, is Lulu, a woman who murders her lover, becomes a prostitute, and eventually becomes a victim of London’s Victorian-era serial killer, Jack the Ripper. The film curiously lacks suspense or thrills, and no one, apart from Brooks, makes much of an impression.”

Brown, Geoff. “New video releases.” The Times, July 18, 2002. (England) *
— very brief review in London newspaper: “One glance at Louise Brooks and you’re putty in her hands. She was the most modern of silent stars, exuding eroticism with just a shake of her page-boy hair. She’s at her haunting best as the London prostitute with Jack the Ripper for a client in G.W. Pabst’s low-life German classic. This DVD includes a documentary about Brooks, Looking for Lulu.”

Stevens, Brad. “Chasing Lulu.” Sight & Sound, September, 2002. (England) *
— review of DVD release in film magazine: ” . . . the single most important work of the silent era.”

Carr, Jay (editor). The A List. New York: Da Capo, 2002. *
— survey of best films of all time; contains an entry on Pandora’s Box by Charles Taylor

Cooke, Paul. German Expressionist Films. London: Pocket Essentials, 2002.
— survey of films; contains an entry on Pandora’s Box

Ebert, Roger. The Great Movies. New York: Broadway Books, 2002. *
— survey of best films; contains a chapter on Pandora’s Box

Elsaesser, Thomas. Weimar Cinema and After. London and New York: Routledge, 2002. *
— contains a handful of references to the actress, as well as the chapter “Lulu and the Meter Man: Louise Brooks, G.W. Pabst and Pandora’s Box”

Weiner, Tom. The Off-Hollywood Film Guide. New York: Random House, 2002. *
— contains entries on Pandora’s Box and Diary of a Lost Girl: “It is the sexiest performance ever committed to film by an actress…. Brooks and director G. W. Pabst understood that Lulu’s sexuality is playful. not malicious, even though she causes others great pain. Other directors and actors have tried to achive this unique combination, but none have come close.”

Miller, Helen. “The Overcoming of Desire: Prostitution and the Contract in Pandora’s Box (1929).” Gender Research Group, January, 2003. (Australia) *
— published article presented at academic conference

Kaltenbach, Chris. “Brooks illuminates the screen.” Baltimore Sun, January 17, 2003. (United States) *
— article in Baltimore, Maryland newspaper: “Hollywood never knew what to do with Louise Brooks. Luckily, German director G.W. Pabst did.”

Longley, Martin. “Box discloses magnetic genius Martin Longley catches up with Birmingham-born saxophonist Theo Travis, whose busy schedule includes accompanying G.W. Pabst’s classic silent film Pandora’s Box at Warwick Arts Centre tonight.” Birmingham Post, February 6, 2003. (England) *
— article about a new score in Birmingham newspaper

Clarke, Roger. “Culture club: Eclectic mix of film in frame for festival.” The News Letter, March 17, 2003. (Northern Ireland) *
— mentioned in article in Belfast, Northern Ireland newspaper: “Amongst the highlights is a screening of GW Pabst’s 1929 silent classic Pandora’s Box. This hypnotic masterwork was Pabst’s most famous star-making work with actress Louise Brooks in an exploration of sexuality in Weimar Germany’s decadence.”

Clarke, Roger. “The Five Best Films / The Five Best Revivals.” Independent, March 29, 2003. (England) *
— named the fifth best revival film in London newspaper: “The silent 1928 masterpiece from G W Pabst, and Louise Brooks’ finest hour: Brooks is pure carnality as the woman who induces murderous passions. Brooding, sinister, mesmerising.”

Levene, Louise. “In the dark and improvising You thought silent movies were dead? The composer George Benjamin knows how to bring them back to life. He tells Louise Levene the secrets of the fleapit accompanist.” The Sunday Telegraph, April 27, 2003. (England) *
— article about a new score in London, England newspaper

Hanks, Robert. “Silent movies: Play it again, George.” Independent, May 18, 2003. (England) *
— article about a new score in London, England newspaper

Calamia, Donald V. “Michigan Theater’s ‘Sex In The Silents’ film series ends with Pandora’s Box.” Between the Lines, May 22 – 28, 2003. (United States) *
— article in Michigan news weekly

Moray, Dan. “The Allure of Louise Brooks.” Ann Arbor Observer, June 3, 2003. (United States) *
— article in Ann Arbor, Michigan newspaper: “But with her extraordinary presence, Brooks is absolutely stunning as the carefree, alabaster dream girl.”

Longley, Martin. “Culture: Box discloses magnetic genius.” Birmingham Post, June 3, 2003. (England) *
— article in Birmingham, England newspaper

Potter, Christopher. “Pandora’s Box remembered as silent triumph.” Ann Arbor Observer, June 6, 2003. (United States) *
— review in Ann Arbor, Michigan newspaper: “By any standard, Brooks’ – and Pabst’s – stellar work remains Pandora’s Box.”

Prawer, S. S. The Blue Angel. London, England: BFI Publishing, 2003. *
— contains a brief discussion of Pandora’s Box in relation to The Blue Angel

edited. Enciclopedia del cinema. Istituto della Enciclopedia italiana, 2004.
— the 6th of this encyclopedia contains an article by Paolo Cherchi Usai on Die Buchse der Pandora

Thomas, Kevin. “G.W. Pabst: The high art of lurid lives.” Los Angeles Times, January 22, 2004. (United States) *
— article in Los Angeles, California newspaper: “If ever there were a case to be made that a director, armed with a thorough understanding of human nature and the talent to express it, can transform lurid melodrama into high art, then G.W. Pabst’s Pandora’s Box and Diary of a Lost Girl are the best arguments. The German master’s two most famous films, which made their American star, Louise Brooks, a screen immortal, launch a Pabst retrospective at the UCLA Film and Television Archive on Saturday.”

Villarreal, Roberto. “Cine en su Casa / Seres de otro mundo.” El Norte, May 28, 2004. (Mexico) *
— write-up in México City newspaper: “La Caja de Pandora (Die Büchse der Pandora) 1929. Alemania. Dir.: G.W. Pabst. Con Louise Brooks y Fritz Kortner…. Pabst offers us images of a beautiful presence called Louise Brooks, whom he directed in two silent films, now classics.”

Camilleri, Tina Marie. “Louise Brooks / Lulu.” sense of cinema, 2004. *
— short article on cinema website, part of “Cinema and the Female Star – A Symposium Part 1”

Musetto, V.A. “Louise Brooks Lulu’s Back in Town.” New York Post, November 14, 2004. (United States) *
— article in New York City newspaper: “The thing you remember most about Louise Brooks is her smile. Sure, there’s the trademark black helmet of hair. But that smile — promising so much, innocent and deadly at the same time.”

Webber, Andrew. “Pan-Dora’s Box Fetishism, Hysteria, and the Gift of Death in Die Büchse der Pandora (1929)”. International Journal of Psychoanalysis, 2006.
— link to article abstract

McKee, Jenn. “AASO records soundtrack for DVD of silent film.” Ann Arbor News, June 4, 2006. (United States) *
— brief article in Ann Arbor, Michigan newspaper: “Recently, for four days, more than 20 members of the Ann Arbor Symphony Orchestra and director Gillian Anderson holed up in the Michigan Theater to record a musical soundtrack for the forthcoming DVD version of Georg Wilhelm Pabst’s 1929 silent film, Pandora’s Box.”

Wallenbrock, Nicole Beth. “The Hollywood Flapper Dies an Expressionist Death (Louise Brooks in Pandora’s Box).” June 7 – 10, 2006.
— academic paper delivered at the Fourth International Women and the Silent Screen Conference in Guadalajara, Mexico

Hoberman, J. “Female Trouble: The bewitching Louise Brooks lights up G.W. Pabst’s blue-ribbon silent.” Village Voice, June 13, 2006. (United States) *
— article in New York City weekly newspaper

White, Armond. “Loving Lulu: Silent, sexy Louise Brooks at her best.” New York Press, June 14-20, 2006. (United States) *
— article in New York City publication

R., P. “Pandora’s Box (Unrated).” Christian Science Monitor, June 16, 2006. (United States) *
— brief article in national newspaper

Rapold, Nicolas. “Mysterious Object of Desire.” New York Sun, June 16, 2006. (United States) *
— article in New York City newspaper

Scott, A. O. “Louise Brooks, a ‘Pandora’ Who Transcended Categories.” New York Times, June 16, 2006. (United States) *
— newspaper article

Rosen, Steve. “indieWIRE BOT: “Wordplay” Tops List in NYC Debut; “Truth” & “Prairie” Remain Solid Summer Alternativ.” IndieWIRE, June 20, 2006. *
— article on entertainment industry website: “The second-place film on this week’s iWBOT did $9,950 at New York’s Film Forum — which frequently is a launch pad for movies that rank well on this chart. But that figure is especially good for Kino Releasing‘s Pandora’s Box, since it’s a 77-year-old silent film. This re-release, a newly struck print from a negative at the George Eastman House, is part of the centennial celebration of the birth of Pandora star Louise Brooks, whose role as the Jazz Age free-spirit and prostitute Lulu in G.W. Pabst‘s film has come to be regarded as one of the most important in cinema.”

Zacharek, Stephanie. “Man of Steel and Neck Bolts of Iron.” New York Times, September 10, 2006. (United States) *
— review of the Criterion DVD release

Wilmington, Michael. “Pandora’s Box.” Chicago Tribune, October 12, 2006. (United States) *
— article in Chicago, Illinois newspaper: “Few movie goddesses can break your heart like saucy, black-banged Louise Brooks, whose centennial comes this year and whose best film and performance, as Lulu in G.W. Pabst’s Pandora’s Box, plays this weekend at the Music Box Theatre, in a new print.”

Bühler, Philipp. “Nosferatu und Pandora dürfen nicht sterben: Plädoyer für einen Welttag des audiovisuellen Erbes.” Berliner Zeitung, October 26, 2006. (Germany) *
— article in Berlin newspaper

Mitchner, Stuart. “Songs of Innocence and Experience: A Centennial Celebration.” Town Topics, November 8, 2006. (United States) *
— article about the Criterion DVD in Princeton, New Jersey newspaper

Braun, Josef. “Old Flicks Get New Life.” Vue Weekly, December 2006. (Canada) *
— review of the Criterion DVD in Edmonton, Alberta weekly

Villarreal, Phil . “Steamy silent film ‘Pandora’s Box’ is a sexual groundbreaker.” Arizona Star, December 24, 2006. (United States) *
— review in Tucson, Arizona newspaper: “Pandora’s Box is a German silent film that Paris Hilton could relate to. She wouldn’t like the way it ends, though.”

Bertetto, Paolo, and Sergio Toffetti. Incontro Ai Fantasmi: Il Cinema Espressionista. [Rome, Italy]: Centro sperimentale di cinematografia, 2008. *
— contains “Die Buchse der Pandora” by Ester Carla de Miro D’Ajeta

Roberts, Ian. German Expressionist Cinema: The World of Light and Shadow. London: Wallflower Press, 2008. *
— contains the chapter “Vigins and Vamps: G. W. Pabsts’ Die Busche der Pandora”

Eisenberg, Noah. Weimar Cinema: An Essential Guide to Classic Films of the Era. New York: Columbia University Press, 2009. *
— edited volume contains Margaret McCarthy’s “Surface Sheen and Charged Bodies: Louise Brooks as Lulu in Pandora’s Box (1929)”

2010

Fuller, Graham. “Louise Brooks’s Pandora’s Box“. ReverseShot, November 2, 2015. *
— online article

Gladysz, Thomas. “Lulu in New York: Pandora’s Box at Film Forum“. Huffington Post, March 16, 2016. *
— online article

Hutchinson, Pamela. “‘Pandora’s Box with the lid off!’: Lulu’s misadventures in London.”  Silent London, April 8, 2017. *
— long blog article

Hutchinson, Pamela. Pandora’s Box. British Film Institute, 2017. *
—book published as part of the BFI Film Classics series

Schwebel, S[ophie Johanna]. “Lulu’s Smile: An Archive of Trauma in Die Büchse der Pandora (1929).” The German Quarterly, 2022.
— article in academic journal (link to article abstract); republished as “Pandora’s Box (Die Büchse der Pandora, 1929)” in Lexicon of Global Melodrama, [transcript], 2022.

— long online article

anonymous. “Pandora’s Box (1929).” TIME magazine, July 26, 2023. (United States) *
— short magazine article

Fuller, Graham. “Blu-ray: Pandora’s Box“. arts.desk.com, October 29, 2023.*
— online article

Gladysz, Thomas. “The Troubled History of Silent Film Pandora’s Box“. PopMatters, January 11, 2024. *
— online article (disregard opening sentences butchered by an editor)

Thomas, Gordon. “Of Sexual Hate and Lonely Death: Pandora’s Box on Criterion.” Bright Lights Film Journal, December 22, 2024. *
— long online article about the Criterion release

Doherty, Thomas. “Pandora’s Box (Preview).” Cineaste, Spring, 2025. (United States) *
— review of the Criterion release (link to online excerpt)