See the world-famous silent that made Louis Brooks a worldwide star, which fame she almost immediately squandered, as a young beauty who led men to their doom, in G.W. Pabst's Pandora’s Box (1929); presented complete, free, and without commercial interruptions, at the WEJB/NSU Theater!

See the world-famous silent that made Louis Brooks a worldwide star, and which she almost immediately squandered, as a young beauty who led men to their doom, in G.W. Pabst's Pandora’s Box (1929); presented complete, free, and without commercial interruptions, at the WEJB/NSU Theater!
Re-posted by Nicholas Stix

Brooks’ next movie, for Paramount, was her first talkie, something about a beauty pageant. When Paramount sent her a telegram that she needed to re-dub her scenes, she responded, telling Paramount to go to hell.

Prix de beauté (Miss Europe) (1930)

Back to Die Büchse der Pandora/Pandora’s Box (1929)

So much for the movie career of Miss Louise Brooks. And Paramount had no need to send around poison pen letters, and get her blacklisted. All it had to do was show people Brooks’ telegram.

9:59: This music is oppressive, and I don't believe it's the original score. It won't let me concentrate on the story. Thus, I am shutting off the sound.





75,541 views Premiered Mar 1, 2022

“Starring the icon of cinema; Louise Brooks and directed by Georg Wilhelm Pabst, Pandora’s Box follows Lulu, a seductive, thoughtless young woman whose raw sexuality and uninhibited nature bring ruin to herself and those who love her. It is based on Frank Wedekind’s plays Erdgeist (1895) and Die Büchse der Pandora (1904) [Pandora’s Box]. Released in 1929, Pandora’s Box was a critical failure, dismissed by German critics as a bastardization of its source material. Brooks’ role in the film was also subject to criticism, fueled by the fact that Brooks was an American. In the United Kingdom, France, and the United States, the film was shown in significantly truncated and re-edited versions, which eliminated certain subplots, including the film's original, downbeat ending.

“By the mid-20th century, Pandora’s Box was rediscovered by film scholars and began to earn a reputation as an [sic] deserving unsung classic of Weimar German cinema. The film would go on to influence many form [sic] of media and the image of Louise Brooks instantly became one of cinema’s most recognizable and unforgettable image [sic], uploaded here in full hd, rediscover the tragic magic and beauty that is Pandora’s Box and Louise Brooks.”


The WEJB/NSU Theater, 1896-1981:

The Haunted Castle: George Melies (1896)

Georges Méliès’ A Trip to the Moon (1902);

The Great Train Robbery (1903);

The Wizard of Oz (1910);

C.B. DeMille’s The Squaw Man (1914);

D.W. Griffith’s The Birth of a Nation (1915);

D.W. Griffith’s Intolerance: Love’s Struggle Through the Ages (1916);

Harry Carey and John “Jack” Ford’s Straight Shooting (1917), the First Feature-Length, “Cheyenne Harry” Western;

Charlie Chaplin’s Shoulder Arms (1918);

The Outlaw and His Wife (1918), Starring and Directed by Victor Sjöström (Seastrom);

Starring “Jack”: See the 1920 Silent Picture Classic of Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde;

Robert Wiene’s The Cabinet of Dr. Caligari (1920);

Buster Keaton’s One Week (1920);

D. W. Griffith’s Way Down East (1920);

F.W. Murnau’s Nosferatu (1921);

The Kid (1921), Charlie Chaplin’s First Feature as Director;

Fritz Lang and Thea von Harbou’s First Pictures Featuring the Evil Genius, Dr. Mabuse: Dr. Mabuse, der Spieler, Teil I (Dr. Mabuse, the Player, Part I); and

Dr. Mabuse, Teil II: Inferno (Dr. Mabuse, Inferno, Part II, both 1922, released one month apart) with English subtitles;

James Cruze’s The Covered Wagon (1923);

John Ford’s The Iron Horse (1924);

Charlie, in The Gold Rush (1925);

Lon Chaney, in The Phantom of the Opera (1925);

King Vidor, Laurence Stallings, and Harry Behn’s The Big Parade (1925), Starring Gilbert and Adore!

Buster Keaton’s The General (1926);

John Ford’s 1926 Western, 3 Bad Men;

Barrymore and Astor in Don Juan (1926);

When a Man Loves (1927), Starring “Jack” and Dolores Costello;

Josef von Sternberg and Ben Hecht’s Underworld (1927), the First American Gangster Picture;

Alfred Hitchcock’s The Lodger (1927);

“Wild Bill” Wellman’s Restored, Classic Silent Picture, Wings (1927), One of the First Two Best Picture Oscar Winners;

F.W. Murnau’s Sunrise: A Song of Two Humans (1927, One of the First Two Best Picture Oscar Winners);

Fritz Lang and Thea von Harbou’s Dystopian Science Fiction Epic, Metropolis (1927), the Greatest S/F Picture Ever, Plus Its Soundtrack Suite;

Frank Borzage and Austin Strong’s Seventh Heaven (1927);

Garbo and Gilbert in Love (1927);

Samson Raphaelson, Alfred A. Cohn, Jack Jarmuth and Alan Crosland’s The Jazz Singer (1927), the First-Ever Talkie, Starring Al Jolson, by Warner Brothers;

King Vidor’s The Crowd 1928;

Bessie Smith in St. Louis Blues (talkie, short, 1929);

John Wayne, in His First Starring Role in an “A” Picture, Raoul Walsh’s Western Epic Talky, The Big Trail (1930)”;

Fritz Lang & Thea von Harbou’s First Talkie: M: Eine Stadt sucht einen Mörder (1931) (M: A City Searches for a Murderer);

Paul Robeson in Eugene O’Neill’s The Emperor Jones (talkie, 1933);

"John Wayne Movie: See over 3 Hours of Foreign Legion Action! Classic Early 1930s Serial, The Three Musketeers;

The Man Who Knew too Much (1934): The Original Version of the Early Hitchcock Classic;

John Ford’s Judge Priest (1934), Starring Will Rogers, with Hattie McDaniel;

The Fighting Westerner (1935);

Kate Hepburn in the Super Chief’s Quality Street (1937);

Cary Grant and Roz Russell in Ben Hecht, Charles MacArthur, and Howard Hawks’ His Girl Friday (1940);

Zero’s Since You Went Away (1944);

Orson Welles’ The Stranger (1946);

The Lethal Lure (1946);

William Dieterle’s A Portrait of Jennie (1948);

Jules Dassin, Albert Malz, and Malvin Wald’s The Naked City (1948), Plus Music;

Pierre Chenal and Richard Wright's Native Son (1951);

R.G. Springsteen and Montgomery Pittman’s Come Next Spring (1956);

Robert Wise and Abraham Polonsky’s Odds against Tomorrow (1959) Antonioni’s Blow-Up (1966);

Truman Capote's A Christmas Memory (1966, TV movie);

Lee Marvin as Sergeant Ryker (1963/1968); and

Paul Newman, in Fort Apache, the Bronx (1981) (exclusive review); The movie.