101 год назад родилась Луиза Брукс
Она всегда шла по жизни собственным курсом. Всегда исполняла сольную партию. За свободу она заплатила изгойством и одиночеством, о глубине которого свидетельствует ее пронзительное замечание: «Искусство заключается не в движениях тела и лица, но в движениях души и мысли, помещенных в состояние интенсивной изоляции».
101 год назад родилась Луиза Брукс, великая актриса и антизвезда.
13 лет работы в кино. Две грандиозные роли в фильмах Пабста «Дневник падшей женщины» и «Ящик Пандоры».
Миллионы женщин пытались подрожать ее неподражаемости. Она придумала короткую стрижку с прямой челкой, носящую по сей день ее имя.
В 1955 году на выставке, посвященной юбилею кинематографа, директор французской «Синематеки» Анри Ланглуа провозгласил: «Нет никакой Гарбо. Нет никакой Дитрих. Есть только Луиза Брукс!»
Ее игра отличалась необыкновенной честностью. В ней не было характерной для немого кино манерности, экспрессивной мимики или выразительного грима. Энергичный, чувственный, внушающий страх, разбивающий сердце образ Луизы Брукс и сегодня невероятно современен.
«Те, кто видел ее хоть раз, никогда не смогут забыть, - писал Жан-Люк Годар. - Она - единственная женщина, способная превратить любой фильм в шедевр. Луиза - само совершенство. Она больше, чем миф, она - волшебство, явление, не имеющее себе равных».
В 1955, когда ее имя было всеми забыто, директор французской «Синематеки» Анри Ланглуа провозгласил в Париже на выставке, посвященной шестидесятилетию кино: «Нет никакой Гарбо. Нет никакой Дитрих. Есть только Луиза Брукс!» Это положило начало переоценке ее творчества и превращению Луизы Брукс в одну из самых знаменитых женщин века, одну из тех, кто сформировал современное представление о женской красоте.
Она родилась в семье юриста и с детства увлекалась танцем, а уже к десяти годам танцевала профессионально, выступая на ярмарках, в клубах и театрах под музыкальный аккомпанимент матери. В 15 лет уехала в Нью-Йорк и поступила в знаменитую танцевальную школу «Денишон», где училась у основоположников современного американского танца Теда Шона и Рут Сент-Денис. Одна из лучших учениц в школе, она была тем не менее исключена за вызывающее поведение и стала выступать в популярном шоу Джорджа Уайта, а затем - в кордебалете «Зигфелд Фоллиз», где начинали многие звезды немого кино. В 1925 успешно прошла кинопробы и получила эпизодическую роль в фильме «Улица забытых людей» (The Street of Forgotten Men), а уже в следующей картине, «Американская Венера» (The American Venus, 1926), ее роль была более значительной.
В тот же год вышла замуж за режиссера Эдварда Сазерленда (разведена в 1928) и начала активно сниматься, в основном в комедиях. Сама она, впрочем, никогда не относилась к кино серьезно и говорила, что стала актрисой только ради денег и что научилась играть, когда смотрела, как танцует Марта Грэм, а танцевать - когда смотрела, как играет Чаплин. Она была короткое время любовницей Чаплина и вела бурную жизнь. Ее имя постоянно мелькало в скандальной хронике Голливуда. В 1928 фильм Хауарда Хоукса «Девушка в каждом порту» (A Girl in Every Port) с ее участием стал неожиданно популярен в Европе.
1928
В Германии в это время Георг Вильгельм Пабст уже около двух лет искал актрису на роль Лулу, героини популярной пьесы Франца Ведекинда. Поиски шли по всей стране и могли сравниться своим размахом с поисками экранного воплощения Скарлетт О'Хара десятилетие спустя. Пабст, который уже отверг, помимо прочих, молодую Марлен Дитрих - она была для него недостаточно молода, - был очарован Луизой Брукс в фильме Хоукса и пригласил ее на роль Лулу. Результатом явилась лучшая картина в творчестве как актрисы, так и режиссера: «Ящик Пандоры» (Die Buchse der Pandora, 1929). Образ героини не имел себе равных в немом кино, как по естественности исполнения, так и по откровенной сексуальности; в нем соединялись фатальная женщина и наивный ребенок. Фильм, однако, не был оценен в то время: немцы были возмущены, что на роль в национальной пьесе пригласили иностранку, а за пределами Германии ленту изуродовала цензура: если в оригинале героиня гибнет в конце от рук Джека-Потрошителя, то в одной из перемонтированных американских версий Лулу вступает в Армию Спасения.
Критики отмахнулись и от фильма, и от игры актрисы. Более того, в Америке в это время появились первые звуковые фильмы, и зрителям было не до немого кино. Брукс вызвали в Голливуд для съемки дополнительных эпизодов к ее последней американской картине, «Дело об убийстве канарейки» (The Canary Murder Case, 1929), так как фильм, снимавшийся немым, решено было выпустить с синхронным звуком. Она отказалась ехать и предпочла сняться в еще одном фильме Пабста - «Дневник падшей» (Das Tagebuch einer Verlorenen, 1929). Когда, сыграв во Франции в ленте «Приз за красоту» (Prix de beaute; 1930), она наконец вернулась в Голливуд, ее ждали там лишь небольшие роли в посредственных картинах.
Она перестала сниматься в 1931 и зарабатывала на жизнь, танцуя в ночных клубах. В 1936 она попыталась вернуться на экран, но отказалась стать для этого любовницей Гарри Кона, босса студии «Columbia», и вновь получила лишь эпизодические роли, снимаясь даже в кордебалете. После вестерна с участием еще малоизвестного тогда Джона Уэйна «Грабители дилижансов» (Overland Stage Raiders, 1938) ушла из кино навсегда. Живя в бедности и почти полном уединении, она была удивлена всплеском интереса к себе в 50-е годы, но по приглашению Джеймса Карда, куратора киноархива «Истман Хаус», переехала в городок Рочестер в штате Нью-Йорк, где начала зарабатывать на жизнь кинокритикой. В 1982 она выпустила книгу эссе и воспоминаний «Лулу в Голливуде». Написала также автобиографию с подробным и откровенным рассказом о своих многочисленных романах, но позднее сожгла единственный экземпляр рукописи. Несмотря на то, что лишь два-три фильма в полной мере соответствуют ее таланту, она остается одной из самых ярких звезд немого кино и самой современной из всех.
Sophie Dahl vs Louise Brooks
Фото в хронологическом порядке:
Louise Brooks and Ted Shawn
The Duchess of Sidebottom | Publicity Photograph for George White's Scandals | 1924 · New York City, New York
Almost immediately after being dismissed from the Denishawn dance company, Louise's impeccable timing and influential connections (not to mention her substantial dancing talent) landed her a place dancing in George White's Scandals. Barbara Bennett, Louise's best friend and fellow Manhattan hellcat, used her clout among theater folk to get Brooksie the job. Soon after, an even more prestigious Broadway show would beckon: The Ziegfeld Follies.
Photographed by M.I. Boris | 1925 · New York City, New York
The unique graphic quality of Louise's face lent itself beautifully to the photography of M.I. Boris. Boris's technique was unusual because he etched and drew into the negatives themselves; at this time, bulky glass plates were the only form of photographic negative. Photographs like this one had a distinctive painterly quality that set them apart from the work of any other portrait photographer. Boris's photos of Brooks only slightly prefigured her transformation into real graphic characters: newspaper comic heroine Dixie Dugan, and later in the 1960s, Valentina.
The Girl in the Black Helmet | Photographed by Nishiyama | 1925
Brooks looks postively embryonic here as the sophisticated jazz baby. Part of the allure of Louise's beauty was the manner in which it encompassed so many qualities: cute, gamine, girlish, womanly, modern, classic, sexy, pure, and any and every shade or combination in between.
Louise Brooks with Ford Sterling | Paramount Studios Film Still from THE AMERICAN VENUS |1925
While still dancing by night in The Ziegfeld Follies, Brooks shot her scenes in THE AMERICAN VENUS by day. The film provided her first introduction to the culture of sychophancy that characterized movie sets-machinations she had neither the will nor the inclination to participate in. Comedian Ford Sterling, for example, would have to look elsewhere for flattery and appreciative laughter. Despite her clashes with Sterling, and a tendency to catch up on missed sleep during set-ups, Louise's first credited film role was singled out for praise among critics.
Louise Brooks | Paramount Studios Film Still from THE AMERICAN VENUS | 1925
Being by this time a seasoned dancer and Ziegfeld showgirl, playing a movie version of a beauty pageant contestant wasn't a stretch for Louise Brooks. Centered around the 1925 Miss America Pageant held in Atlantic City, THE AMERICAN VENUS was a piece of fluff constructed around the newest holder of that title, Fay Lamphier. Two trailers are all that remain of this film, whose other notable feature was the use of the two-strip technicolor process.
Louise Brooks | Paramount Studios Film Still from A SOCIAL CELEBRITY | 1925-26
As A SOCIAL CELEBRITY was going into production, Louise Brooks was set to play a minor role as a barber shop's manicurist. At an early stage in shooting, star Greta Nissen pulled out of the film, the small manicurist's role became a lead, and Brooks was given second-billing to star Adolphe Menjou. It was just one of many serendipitous twists of fate in her early career that propelled Brooks's rising star upward-an ascension that would never quite reach its zenith in the United States.
Louise Brooks with Malcolm St. Clair and Adolphe Menjou | Paramount Studios Film Still from A SOCIAL CELEBRITY | 1926
Louise Brooks embraced the free-spending attitude of the 1920s when it came to her wardrobe-especially when the film studio was footing the bill. She would later remember that she played the manicurist in A SOCIAL CELEBRITY in five hundred dollar dresses. It was the same for her other films at Paramount. Unlike those of bigger and better paid stars of the time, Brooks's wardrobe was chic on and off the movie set. Thus, Paramount's costume designer Travis Banton named her one of 1927's best-dressed women, and her advice to ladies wanting to mimic her celebrated sartorial flair was characteristic: "Don't economize too much on clothes."
Louise Brooks with Adolphe Menjou | Paramount Studios Film Still from A SOCIAL CELEBRITY | 1926
Playing with Adolphe Menjou under the direction of Malcolm St. Clair, understated, natural Brooksie was out of her dramatic element. She recalled in later years: "Mal came from the mugging school of Sennett, and he did everything by making faces, and he would mug out a scene for me and then send me into the scene, and I would be so embarrassed. I tried my best to please him and yet not make all those mugging faces that date so terribly, like Adolphe Menjou."
Louise Brooks with her husband Edward Sutherland | Paramount Studios Publicity Photograph for IT'S THE OLD ARMY GAME |1926 · Ocala, Florida
Shooting for IT'S THE OLD ARMY GAME in Ocala, Florida quickly became a drunken free-for-all with hard-drinking W.C. Fields, Louise, and her future husband, director Eddie Sutherland on the set. According to Louise: "Nobody in Ocala seemed to have heard of Prohibition. And if ever there was a company that needed no help in the consumption of liquor it was ours." However, Louise was not so soused that she didn't store away her sharpest insights and observations about her co-star, which she would record in her essay "The Other Face of W.C. Fields."
Louise Brooks with Gregory Kelly, Lois Wilson and Ford Sterling | Paramount Studios Film Still from THE SHOW-OFF 1926
Louise Brooks with William "Buster" Collier, Jr. and Dorothy Mackaill | First National Film Still from JUST ANOTHER BLONDE 1926
During the making of JUST ANOTHER BLONDE (as it was eventually called after nearly half a dozen working titles) Brooks nonchalantly requested a day off for the purpose of being wed. Director Alfred Santell granted his stunned permission, and Louise rushed off to become Mrs. Edward Sutherland. At the time she was also carrying on a short-lived affair with co-star Buster Collier: "the only actor [she] ever cared for." Through Collier she would come to know another, more famous Buster (Keaton), about whom she would write an adoring essay many years later.
Louise Brooks with Arthur Donaldson | Paramount Studios Film Still from LOVE 'EM & LEAVE 'EM 1926
Is Louise contemplating a Faustian bargain? Or is she merely experiencing an ever so slight pang of conscience as the naughty baby sister whose bad deeds go unpunished? LOVE 'EM & LEAVE 'EM is one of the most enjoyable of Brooks's American films still in existence. At the time she shot it, Louise was unaware that her role was comedic. Director and admirer Frank Tuttle directed her to play the role straight, realizing that if he instructed Louise to be funny she would have become, in her own words, "an immobilized personality."
Louise Brooks | Paramount Studios Film Still from LOVE 'EM & LEAVE 'EM 1926
LOVE 'EM & LEAVE 'EM afforded Brooks the opportunity to work with Osgood Perkins, one of a group of Ivy League-educated theaterfolk which included her friends Frank Tuttle, the film's director, and title writer Townsend Martin. Brooks called Perkins-father of Anthony-"the best actor I ever worked with." His skill as an actor embodied the acting philosophy Louise espoused, which consisted not of acting but reacting, and not emoting but behaving.
Louise Brooks | Home at Laurel Canyon | 1927
Kenneth Tynan mentions this photograph in his celebrated 1979 New Yorker profile of Brooks, "The Girl in the Black Helmet." In it, he compares her to Odette and Odile in "some modern-dress version of Swan Lake." Beyond the obvious allusion to Louise's dance background, the comparison was more apt than even the astute Tynan likely realized. Odette and Odile are dark and light personalities embodied in one talented dancer. In much the same way, Brooks was herself an enormous contradiction, embracing the life of both the recluse and the actress/dancer, the intellectual hermit and the party girl.
Louise Brooks with James Hall and Richard Arlen | Paramount Studios Publicity Photograph for ROLLED STOCKINGS 1927
In a departure from the typecasting Brooks was saddled with in many of her American films, she played not the vamping flapper in ROLLED STOCKINGS, but the straight-laced college girl betrayed by Richard Arlen. Blonde junior star Nancy Phillips was instead tapped for the role of "the Vamp," as the character was literally called. In fact, the movie was touted as Paramount's first to feature only so-called Junior Stars-those who had supposedly been selected by the front office for grooming as potential box-office draws. There was no love lost between Louise and co-star Arlen on the set. And, though she made her lack of admiration for Arlen's acting plain, he was ironically the sole Junior Star who saw any measure of success in Hollywood after the 1920s.
Louise Brooks | by Eugene Robert Richee | Paramount Studios Film Still from NOW WE'RE IN THE AIR 1927
NOW WE'RE IN THE AIR, like the three other films Louise Brooks made in 1927, is lost. Probably notable only for the dual appearance of Brooks as twins separated at birth-one raised in Germany, and the other in France-the film anticipates her move to those same countries a short time later where she would find her most enduring film roles. Aside from this, the film was little more than a slapstick programmer, and the first in which Brooks co-starred with friend and fellow Midwesterner Wallace Beery.
Louise Brooks with Keen Thompson | Paramount Studios Publicity Photograph for NOW WE'RE IN THE AIR 1927
Among Brooks's innumerable publicity stills, she named this wry photo her favorite because she posed it herself. A voracious reader all her life, Louise found herself to be something of an anomaly among the decidedly unintellectual inhabitants of Hollywood-actors who would have been right at home in Gatsby's library.
Louise Brooks with Thomas Meighan | Paramount Studios Film Still from THE CITY GONE WILD 1927
For THE CITY GONE WILD Brooks played an absurdly named gangster's moll. Here, Snuggles Joy confers with Thomas Meighan, Brooks's real life uncle-in-law. The film was a prototype of the gangster genre that would be patented just a few years later with SCARFACE, THE PUBLIC ENEMY, and LITTLE CAESAR. Sadly, the movie is lost, having decomposed in Paramount's vaults over 30 years ago.
Louise Brooks with Victor McLaglen | by Max Munn Autrey | 1928
As in LOVE 'EM & LEAVE 'EM before it, Brooks's character A GIRL IN EVERY PORT was a gem of seductive unrepentance. Whether G.W. Pabst actually saw A GIRL IN EVERY PORT-a fact that has recently been challenged-and cast Louise Brooks in PANDORA'S BOX based on that performance, the two previous bad girl roles were stellar training for the quintessential sinless temptress, Lulu.
Louise Brooks by Eugene Robert Richee | 1928
Eugene Robert Richee was Brooks's most frequent photographer. Had he only shot but two frames of her-this photo and the accompanying full-length shot-their collaboration on those alone would still have created an icon and defined the look of the 1920s. Louise summed up their work together in her typical crisp fashion: "Eugene Richee used to take sixty shots in two hours. We never said a word to each other. Perfect relationship."
Louise Brooks with Richard Arlen and Wallace Beery | Paramount Studios Publicity Photograph for BEGGARS OF LIFE 1928
It was during the filming of BEGGARS OF LIFE that Brooks's ambivalence toward Richard Arlen turned to dislike, and the feeling proved to be mutual. However, her bond with former co-star Wallace Beery was reinforced. While many who worked with Beery found him a distasteful bully, Louise adored his dark sense of humor, bravery, and grace. Beery, in a piece of paternal advice on the first day of shooting, warned her against being talked into doing any unneccessary stunts for director William "Wild Bill" Wellman. Naturally, Louise disobeyed, performing all but one of the dangerous stunts required of her on Locomotive 102, the freight train which became the film's primary set.
Pandora's Box, 1929
Louise Brooks with Jean Arthur | Paramount Studios Film Still from THE CANARY MURDER CASE 1929
It is one of the greatest ironies wrought by the transition to talkies that an actress with a voice as remarkably lovely as Louise Brooks' was denied the chance to sufficiently demonstrate it in films. So, while Jean Arthur-with the voice once affectionately likened by a critic to a foghorn-dutifully returned with the rest of THE CANARY MURDER CASE'S cast to Paramount for sound conversion retakes, Louise snubbed the studio that had apathetically allowed her to quit, and hop a boat for Germany and silent film immortality instead. For her rebellion, Brooks received the punishment meted out to most movie stars with chips on their shoulders: bad publicity. According to Paramount, Louise's voice didn't record well, and thus, a stand-in was found to dub her lines. Brooks's career would never recover from her own contrariness and the ensuing reprimand.
Louise Brooks with G.W. Pabst | October 14, 1928 · Berlin, Germany
Brooks described her relationship with PANDORA'S BOX director G.W. Pabst as something visceral and intuitive-a rapport that began the instant she stepped off the train in Berlin to meet him."It was,"she wrote, "just as if Pabst had sat in on my whole life and career and knew exactly where I needed assurance and protection. And, just as his understanding of me reached back to his knowledge of a past we did not have to speak about, so it was with the present . . . all that I thought and all his reactions seemed to pass between us in a kind of worldess communication."
Louise Brooks with Fritz Rasp | HOM-Film Film Still from DIARY OF A LOST GIRL | 1929 · Berlin, Germany
G.W. Pabst's instincts regarding Louise were not limited to a mere psychological understanding of the actress. Anticipating her attraction to actor Fritz Rasp, the director quite literally conceived of their seduction scene as a subtle, erotic dance. Brooks's dance background and Rasp's physical power and agility combined to make the scene one of DIARY OF A LOST GIRL'S most affecting.
Louise Brooks with Andre Roanne | HOM-Film Still Photograph from DIARY OF A LOST GIRL 1929
With their second collaboration, G.W. Pabst urged Louise Brooks to remain in Germany and commit herself to acting. Although she respected the director and submitted to him as she did no one else, she declined his entreaties. In frustration, Pabst delivered a prediction on the final day of shooting that would haunt Brooks for the remainder of her life-though she scarcely understood it at the time: "Your life is exactly like Lulu's [of PANDORA'S BOX], and you will end the same way."
Louise Brooks by Studio Lorelle | SOFAR-Film Publicity Photograph for PRIX DE BEAUTE 1929
Although Louise felt less than positive about the finished product of PRIX DE BEAUTE, she described her time in Paris as the happiest of her life. Explaining that because she did not speak French she wasn't required to speak to anyone, or to talk at all. Is it any wonder, then, that the actress considered by some to be the greatest in silent films was most content when she didn't have to say a word?
Louise Brooks | Educational Pictures Publicity Photograph for WINDY RILEY GOES HOLLYWOOD 1930
Appearing quite different from the sulky, sooty-eyed flapper of the twenties, Brooks puts on one of the biggest grins in any of her portraits, denying the misery of the Depression. In truth, the thirties were an uncertain time for Brooksie, as well. Sadly, uncertain times would give way to desperate ones in the following two decades.
Louise Brooks with Yola d'Avril, Joan Blondell, and Frank Fay | Warner Bros. Film Still from GOD'S GIFT TO WOMEN 1931
Louise gets the better of the wonderful Joan Blondell in a pre-Code catfight as star Frank Fay looks on in exasperation. It was on the set of GOD'S GIFT TO WOMEN that Louise would meet longtime friend and Warner Brothers costume designer Howard Shoup.
Louise Brooks | Warner Bros. Publicity Photograph for GOD'S GIFT TO WOMEN 1931
Judging by Louise's expression, one would be surprised to learn GOD'S GIFT TO WOMEN was a comedy. Despite a rather small role, Warner Brothers promoted Brooks generously with many stunning publicity photos such as this one. However, the change in coiffure and her melancholy countenance underscore a downturn in Louise's professional career. Declining William Wellman's offer for the role of Gwen in THE PUBLIC ENEMY shortly after making GOD'S GIFT, Louise would perform her most dramatic act of "snatching obscurity from the jaws of fame," as biographer Barry Paris fittingly described it.
Louise Brooks with bust of Dante Alighieri | Warner Bros. Publicity Photograph for GOD'S GIFT TO WOMEN 1931
“Worldly fame is but a breath of wind that blows now this way, and now that, and changes name as it changes direction.” -Dante
A chastened Louise awaits her imminent banishment to the particular circle of hell reserved for stubborn, haughty actresses. She seems already to be in mourning for her lost vogue in this stunning photograph, and despite the prop's stinging relevance now, there does not appear to be any deliberate underlying comment relating to Brooks's then unsteady career. Dante certainly had nothing to do with GOD'S GIFT TO WOMEN, either.
Louise Brooks | Universal Pictures Publicity Photograph 1936
After a successful two-year stint on the ballroom dance circuit, and an unsuccessful marriage, Brooks returned to Hollywood for a final time. Despite her still incredible, now mature beauty, her attempt at a movie comeback would be a disappointment.
Louise Brooks with Buck Jones | Universal Pictures Film Still from EMPTY SADDLES 1936
A cowboy movie with Buck Jones hardly seemed the ideal genre for a Louise Brooks comeback vehicle, but she was desperate for movie work of any kind by 1936. More to the point, she needed the $300 paycheck for the film's week-long shooting. Having turned up her nose at a Buck Jones Western some six years before, Brooks now gritted her teeth through the forgettable EMPTY SADDLES.
Louise Brooks with Buck Jones and Gertrude Astor | Universal Pictures Film Still from EMPTY SADDLES 1936
The sophisticated lawyer's daughter from Wichita, Kansas was an odd fit for EMPTY SADDLES with Buck Jones, and one can almost read the discomfort in her face here. Louise had little regard for Hollywood's version of the West, whose "unreality," she would later recall, "disgusted [her]."
Louise Brooks with John Wayne and Ray Corrigan | Republic Pictures Publicity Photograph for OVERLAND STAGE RAIDERS 1938
For her final screen appearance, Brooks would brush shoulders with John Wayne, who was perched on the brink of stardom. The next year, Wayne would finally obtain fame as The Ringo Kid in Stagecoach. OVERLAND STAGE RAIDERS was a textbook B-movie example of two stars touching briefly as they followed their opposite trajectories in filmdom.
Louise Brooks with John Wayne | Wrap Party for OVERLAND STAGE RAIDERS 1938
Brooks called John Wayne "a purely beautiful being" and "the hero of all mythology miraculously brought to life." Louise rarely expressed such unmitigated enthusiasm for anyone-especially fellow actors-and the adoration for him is unmistakably written on her face in this surreal photo. One would be hard pressed to find another image of prickly, no-nonsense Brooksie looking so vulnerable.
Louise Brooks with Barrett O'Shea | Publicity Photograph for Brooks-O'Shea Dance Studio 1939
The distinctive costume Louise wears in this promotional photo for the Brooks-O'Shea dance studio may have been designed by Warner Brothers costumer Howard Shoup. Brooks and "Shoupie," as she nicknamed him, had become fast friends on the set of GOD'S GIFT TO WOMEN eight years prior. With the small amount of money she earned from the studio, Louise commissioned a new wardrobe from the designer. Unfortunately, the Brooks-O'Shea studio proved to be only slightly more financially successful than its subsequent Kansas counterpart. In a short period of time, Louise would sell the studio to O'Shea for $2,500, then promptly board a train for Wichita, Kansas. There, Louise would find that if she'd hated Hollywood, Wichita was an even less endearing town to its once celebrated prodigal daughter.
Louise Brooks by Charles Bartlett | Promotional Photograph for Brooks Dance Studio | 1940 · Wichita, Kansas
Photographed for the second of Brooks' short-lived dance studios, Louise once again donned her trademark bangs, this time looking more like an aristocratic Bettie Page than the androgynous imp of the 20s. The photo also appeared on the cover of her first serious literary effort: a pamphlet of thirty-six pages entitled " The Fundamentals of Good Ballroom Dancing." The booklet was published exclusively in Wichita as a means of advertisement for the Brooks studio. Unfortunately, like the studio, "The Fundamentals of Good Ballroom Dancing" was not what one would deem a wild success. About 500 of the 750 pamphlets found a permanent home in the landfill, and the dance studio would last less than a year.
Louise Brooks, Rochester New York 1957
Louise Brooks with Suzy, 1964
Дата: (14/11/1906 - 08/08/1985)
Национальность: США
1998 Луиза Брукс: в поисках Лулу
1938 Грабители дилижансов
1937 Король игроков
1936 Голливудский бульвар
1936 Пустые седла
1931 Реклама себя окупает
1931 Уинди Рили едет в Голливуд
1931 Подарок женщинам от Бога
1931 Кто есть кто в зоопарке
1930 Приз за красоту
1929 Дневник падшей есть пост форума
1929 Дело об убийстве канарейки
1929 Ящик Пандорры
1928 Девушка в каждом порту
1928 Нищая жизнь
1927 Вечерняя одежда
1927 Десять лет
1927 Теперь мы находимся в воздухе
1927 Свернутые чулки
1927 Город обезумел
1926 Любите их и оставляйте их
1926 Эта старая армейская игра
1926 Еще одна блондинка
1926 Американская Венера
1926 Светская знаменитость
1926 Показуха
1925 Хрупкий возраст
THE MARTYRDOM OF LULU - статья на английском
ДЕВУШКА В ШЛЕМЕ ЧЁРНЫХ ВОЛОС - Кеннет Тайнан