Films of Louise Brooks

  In her day, Louise Brooks was never considered a major star. Her career, relatively speaking, was brief. The actress appeared in only 24 films between 1925 and 1938 — a period spanning 13 years, four of which she was absent from the screen. By comparison, her celebrated contemporary Clara Bow (the “It” girl) appeared in 57 films over 11 years, while another contemporary, silent era superstar Colleen Moore, appeared in 48 films over 18 years. Of Brooks’ 24 films, she received top billing in only three productions. Notably, these were the three films she made in Europe. In the United States, Brooks was usually given second or third billing. In only one of them, Rolled Stockings, was she considered the lead — though just as often, this 1927 film was promoted as starring not Brooks, but the Paramount junior stars.

As film historians have pointed out, few actors have attained such a large reputation through so few films. Today, Brooks’ remarkable popularity rests on her iconic look — while her cinematic renown derives largely from her role as Lulu in the once derided, now acclaimed German silent, Pandora’s Box. That film, often ranked among the greatest of its time, was largely forgotten until its rediscovery in the late 1950s. Since then, and especially in the last few decades, Brooks’ other surviving films have been reevaluated and  restored, and her reputation as an actress has grown significantly.

Brooks made her screen debut in 1925, playing a moll in an uncredited bit part in Herbert Brenon’s The Street of Forgotten Men. Under contract to Paramount, she was soon playing the female lead in a string of light dramas and comedies with titles like A Social Celebrity and Love Em and Leave Em. The best of her early films may be The Show-Off, which was based on an acclaimed stage play by Pulitzer Prize winner George Kelly. Generally speaking, Brooks received good reviews for her early screen work while appearing alongside such major names as Adolphe Menjou, Ford Sterling, Evelyn Brent, Richard Arlen, and Dorothy Mackaill. Also among her co-stars was the legendary W.C. Fields, who Brooks played opposite in It’s the Old Army Game, a film directed by the actress’ future husband, Eddie Sutherland.

In 1927 and 1928, Brooks was cast in more dramatic roles, including The City Gone Wild, an early gangster film directed by James Cruze. Two other important works from this time include the Howard Hawks directed A Girl in Every Port, which starred Victor McLaglen, and the William Wellman directed Beggars of Life, which was based on a celebrated book by Jim Tully and starred future Oscar-winner Wallace Beery. These two films are considered the actress’ most significant American movies, while Beggars of Life is widely considered her single best American film. Of her early silents, five are considered lost. Two others, including Just Another Blonde from 1926 and Now We’re in the Air from 1927, are partially lost, and survive only in fragmentary form. The American Venus, Brooks second film though the first for which she received a screen credit, also survives in bits and pieces. All together, a little more than five minutes of footage remains of the film which featured a few Technicolor sequences.

Brooks’ career pivoted around The Canary Murder Case. She was given the title role in the 1929 film, a murder mystery based on the popular novel by S.S. van Dine which starred William Powell as detective Philo Vance. The film, an important Paramount production, was first shot as a silent. However, by the time the decision was made to adapt it to sound — which would require Brooks to dub her role, the actress had left for Europe. Paramount was displeased, to say the least, especially since Brooks walked away from a contract with the studio after being refused a modest raise. When The Canary Murder Case was eventually released, critics commented on the somewhat poor quality of Brooks’ voice, which some thought had been dubbed by another actress. The talk around Hollywood was that Brooks’ voice didn’t record well, and the gossip was that the actress was difficult to work with.

• AbandoMoviez (Spain)
• AlohaCriticon (Spain)
• American Film Institute
• All Movie Guide
• AlloCine (France)
• BiFi (France)
• Cineartistes (France)
• Filmportal (Germany)
• Filmweb (Poland)
• IMDb
• Letterboxd
• Open Media
• Rotten Tomatoes
• SilentEra.com
• Swedish Film Database (Sweden)
• TCM.com
• TMDB

Today, Brooks is best known for the three films she made in Europe, Die Büchse der Pandora (Pandora’s Box) and Tagebuch einer Verlorenen (Diary of a Lost Girl) in Germany, and Prix de beauté (Beauty Prize) in France. They form a kind of trilogy, and mark the high point in Brooks acting and career. Both Pandora’s Box (1929) and Diary of a Lost Girl (1929) were directed by G.W. Pabst, one of the great European directors of the inter-war era; Pabst, along with the great French director René Clair, co-authored the story behind Prix de beauté (1930), an international production which ended up being directed by an Italian, Augusto Genini.

When Brooks returned to Hollywood, few noticed. “Nobody burned more bridges than Louise Brooks,” biographer Barry Paris wrote, “or left prettier blazes on two continents.” The actress’ career quickly went into decline. Brooks felt she had been blackballed after refusing to return to work on The Canary Murder Case. It may be so. She also proved her own worst enemy by turning down important roles in films like The Public Enemy (1931), which might have helped restart her career.

In need of work and still hoping for a comeback, Brooks accepted small roles and bit parts in indifferent films throughout the 1930s. One low point came in Windy Riley Goes Hollywood, a short directed by the legendary Roscoe “Fatty” Arbuckle, who was then working under a pseudonym and living through his own internal exile from Hollywood. The best of Brooks’ sound films is God’s Gift to Women, a pre-code farce directed by Michael Curtiz in which Brooks plays only a supporting role. Her character in King of Gamblers, a terrific crime film directed by Robert Florey, ended up on the cutting-room floor at the last minute. The actress’ last screen credit came in 1938 with Overland Stage Raiders, a middling B-Western starring a young John Wayne. [For more on Brooks’ film work in the Thirties, see FILMS OF THE 1930s.]

Of Brooks 24 movies, 15 were released as silents. Three were released during the period when the industry was transitioning from silent to sound films: Beggars of Life was released as a silent film as well as a sound film with sound effects and a musical score; the sound version, or at least the sound elements, are unfortunately, is lost. Two others, The Canary Murder Case and Prix de beauté, were released simultaneously in both silent and sound versions. Brooks’ seven final films, made during the 1930s, were what were once called “talkies”. One of her last was a musical, the Grace Moore vehicle When You’re in Love. Brooks had an uncredited role in the film as a chorus dancer, and it’s nearly impossible to spot her.

If you want to see what the fuss is all about, or wish to watch just one or two films, start with Pandora’s Box. Some find it and its dark theme tough going. Nevertheless, it is a tour-de-force and Brooks is sensational. Also a masterpiece in its own right and just as highly recommended is Diary of a Lost Girl. Otherwise, an excellent overview of Brooks’ movie career can be found in the Emmy-nominated documentary, Louise Brooks: Looking for Lulu. It is well worth checking out. It is also a thoughtful introduction to Brooks’ life, and with its many clips, it serves as a sampler of Brooks’ work before the camera.

Besides individual pages on Brooks’ various films, here are a few additional pages related to Brooks’ film career.

FILM SOURCE MATERIAL  ||  MENSAJERO PARAMOUNT  ||  FILMS OF 1926  ||  FILMS OF 1927  ||  FILMS OF THE 1930s  ||  TWO FILM CHECKLISTS

The titles listed below link to informational pages which include a story synopsis, cast and credits, production history, trivia, etc…. (Dates given represent the year of release, not the year of production, which is sometimes different.) Titles marked with an * are considered lost (meaning the film is thought to no longer exist). Titles in bold are or have been available for home viewing in some format (VHS, LaserDisc, DVD, or Blu-ray). Occasionally, Brooks’ films are screened in theaters, especially those which show classic movies, or at film festivals all around the world. Over the years, a few have even been shown on television in the United States, Canada, Europe, and Australia. (Poor quality copies of a few films can also be found online; but don’t ruin it for yourself; if you have the chance, go see one of her films on the BIG screen, or track down a DVD, each of which makes for a far more enjoyable experience!) A few of Brooks’ available films can also be borrowed from public libraries.