Like other studios, Paramount hoped to appeal to as many movie-goers as possible — not only in the United States, but also around the world. To that end, it created a Spanish-language magazine featuring news of its films, stars and studio which was sent to distributors, exhibitors, theater managers and others “in the trade.” This publication, titled Mensajero Paramount (or Paramount Messenger), was launched in the early 1920s, most likely in 1921 or 1922. It is full of information about Paramount productions, as well as bits about various individuals employed by or associated with the company, such as writers, executives, office secretaries, and of course, Paramount actors and actresses. Though only a junior star, Louise Brooks received her fair share of attention in the magazine. A short profile of Louise Brooks was published in April 1927 (see below), and the actress once appeared on the cover of another issue from December 1928 — along with other up-and-coming Paramount stars such as Gary Cooper, Evelyn Brent, Richard Arlen and Fay Wray.
Today, unfortunately, copies of this in-house trade publication are very hard to find – especially issues from the early-to-mid 1920s. (How I would love to get a hold of issues from 1925, and especially 1926 – the year that saw the release of The American Venus –– Brooks’ first credited role, and A Social Celebrity – Brooks’ break-out role.) What issues are available tell us about the actress’ films, especially her lost films, and how Paramount would have liked them presented not only in Spain but in Spanish speaking countries in Central and South America. (Mexico and Cuba, for example, were significant markets.) Notably, Mensajero Paramount was likely sent to individuals in the United States, where there were not only Spanish speakers but also a handful of theaters which catered to Spanish-speaking movie goers.
Despite its scarcity, a handful of issues of Mensajero Paramount can be found online — and what’s more, some contain illustrated features on some of Brooks’ films. Based on what could be found online, each of Brooks’ Paramount films beginning with Love Em and Leave Em was the subject of a one, two or four page promotional feature. The exception is It Pays to Advertise (1931), which was considered a programmer and likely deemed not worthy of the coverage a major release might have received (which explains why its exhibition history was so spotty compared to Brooks’ other films). Nevertheless, each feature is interesting and well worth checking out. The movie titles listed below are linked to available issues of Mensajero Paramount, where you can browse the coverage the film received.
“Biografia de Luisa Brooks y Otras Materias” (April 1927)
Love Em and Leave Em / Amalos y Dejalos (April 1927)
Evening Clothes / El Traje de Etiqueta (June 1927)
Rolled Stockings / Medias Enrolladas (September 1927)
Now We’re in the Air / Reclutas por los Aires (February 1928)
The City Gone Wild / La Ciudad del Mal (February 1928)
Beggars of Life / Mendigos de Vida (January 1928)
The Canary Murder Case / El Crimen de la Canaria (May 1929)
King of Gamblers / El Rey de Los Jugadores (June 1937)