“The Kiss” 1929

“The Kiss” (1929) is a silent romantic drama starring Greta Garbo, Conrad Nagel, Anders Randolf, and Lew Ayres. Directed by Jacques Feyder, this film was Garbo’s last silent film and Lew Ayres’ first major screen role.

In this film, Garbo plays Irene Guarry, a young woman unhappily married to an older man, Charles Guarry, played by Anders Randolf. Irene is in love with a young lawyer, Andre Dubail, played by Conrad Nagel. When Irene decides to stop seeing Andre, she starts spending her time with Pierre Lassalle, the son of her husband’s associate, played by Lew Ayres. When Pierre leaves for college, he begs Irene for a goodbye kiss, a gesture that leads to jealousy, death and an explosive murder trial.



I think what makes “The Kiss” a good film is the combination of Garbo’s acting and the fine cinematography. Under Feyder’s direction, Garbo was even more impressive than she was in her other silent films. I like the way she convincingly played the sympathetic, but no longer in love wife. I also liked the use of light and dark and the superb close-ups. Lew Ayres, whose distinguished career would include “All Quiet on the Western Front” and the Dr. Kildare movies, impresses in his first major screen role. Only 64 minutes in length, “The Kiss” is a good story of tortured romance with a bit of mystery.

Born Greta Lovisa Gustafsson on September 18, 1905, in Stockholm, Sweden, Garbo was brought to the United States by Swedish director Mauritz Stiller after Louis B. Mayer saw her in “Gosta Berlings saga” (1924) and found it exciting enough to sign both Garbo and Stiller to MGM contracts. In her first American film, “Torrent” (1926), Garbo dazzled audiences with her beauty and complex emotions. Her films with silent screen star John Gilbert and their offscreen romance made for big box office as well. One of her most provocative pairings with John Gilbert was “Flesh and the Devil” (1926). With the advent of talkies, Garbo’s career continued to rise and she was successful in “Anna Christie” (1930), “Grand Hotel” (1932), “ Anna Karenina” (1935), “Camille” (1936) and “Ninotchka” (1939). When “Two-Faced Woman” (1941) turned into a humiliating debacle, Garbo decided not to make another film until the time was right. That day never came. The secret of the success of Garbo is not that she lived too long or too short a space in years, but that she knew when to retire and how to fashion herself into a mysterious and reclusive figure. Garbo had one of the most flawless faces in film history, and she looks beautiful in the silent films.

“The Garden of Eden” (1928)

“The Garden of Eden” (1928) is a silent romantic comedy starring Corinne Griffith, Louise Dresser and Charles Ray. Directed by Lewis Milestone, this film is nicely balanced between romance and comedy.

The story begins with a naïve young woman, Toni LeBrun, played by Corinne Griffith, who decides to pursue a career as an opera singer. One night, Toni sneaks out of her aunt and uncle’s house to catch a train for Budapest. She arrives alone in the big city and goes to the cabaret, Palais de Paris, to audition for a role. It is at the cabaret that Toni meets the wicked owner Madame Bauer, played by Maude George. She is a businesswoman who wants to pimp her out to Henry D’Avril, one of Bauer’s wealthy customers, played by Lowell Sherman. When Madame Bauer provides a private room for Toni and D’Avril, Toni refuses his advances, and Rosa, the wardrobe mistress, played by Louise Dresser, helps her escape and they are both fired. What Toni doesn’t know is that Rosa is a baroness whose husband was killed in the Great War. She works all year and when she gets her late husband’s pension, she lives in Monte Carlo until her money runs out and then returns to Budapest. When Rosa’s pension arrives, she legally adopts Toni and takes her on a Cinderella-like adventure where she is pursued by two men, Richard Dupont, played by Charles Ray, and Colonel Dupont, his uncle, played by Edward Martindel.




“The Garden of Eden” (1928) is a delightful romantic comedy. I was really impressed with the photography and Corinne Griffith’s graceful performance. Charles Ray, who had been a popular actor in the 1910’s under the direction of Thomas H. Ince, delivers a solid performance. What I liked most about the film were the scenes with Corinne Griffith and Louise Dresser. They were perfect foils for each other, and their faces were so expressive.


Corinne Griffith was born Corinne Mae Griffin in Texarkana, Texas on November 21, 1894. She was a leading lady with Vitagraph from 1916 to 1922, appearing in more than forty films. From Vitagraph, Corinne moved on to First National where she headed her own production unit and where she would remain until 1930, except for one film, “The Garden of Eden” (1928), released by United Artists. Of the more than twenty-five First National films, three stand out: “Black Oxen” (1924), “Lilies of the Field” (1924) and “The Divine Lady” (1929). Corinne did appear in a couple of 1929 features with sound sequences, followed by two complete talkies, “Lilies of the Field” and “Back Pay” in 1930. With those films, her First National contract ended and her film career was over. Corinne was married four times, first to her Vitagraph director Webster Campbell then to producer Walter Morosco. In 1936, she married George Marshall, owner of the Boston Braves, and became a baseball fan. Corinne wrote her experiences in a 1946 “Saturday Evening Post” article, “My Life with the Redskins.” It was the first of six books that Corinne was to author, including “Papa’s Delicate Condition (1952), which was filmed in 1963 as a vehicle for Jackie Gleason. Corinne divorced George Marshall in 1958, and in 1965, she married realtor and singer, Dan Scholl. He was 44 and she was 71. The couple separated after six weeks and the divorce proceedings were extraordinarily messy. At the time of her death, Corinne’s estate was valued at $150 million dollars. She was one of the wealthiest women in the world.

“The Flying Fleet “ (1929)

“The Flying Fleet “ (1929) is a silent drama starring Ramon Novarro, Ralph Graves, and Anita Page. Directed by George Hill, this film features excellent footage of naval aircraft. The story begins with six graduating seniors at the U.S. Naval Academy on the eve of their graduation. The six have been the best of friends for four years, and all of them are hopeful flyboys, but only two, Lt. Tommy Winslow, played by Ramon Novarro, and Lt. Steve Randall, played by Ralph Graves, complete the program. Unfortunately, they become romantic rivals when they fall in love with the same girl, Anita Hastings, played by Anita Page.







I think “The Flying Fleet” is a very good film. Ramon Novarro and Ralph Graves deliver great performances as hopeful flyboys and romantic rivals. The 18 year old Anita Page looks lovely and gives a charming performance as the love interest of the two buddies. This film depicted naval flight training in a very authentic way. I liked the way synchronized sound effects and music were added to this otherwise silent film. A box office hit, “The Flying Fleet” is a late MGM silent that is worth watching, especially for those that love old aircrafts.





Anita Page was born Anita Pomares on August 4, 1910, in Queens, New York. Her father’s side of the family was from El Salvador of Spanish ancestry. Her entrance into films came courtesy of her friend, actress Betty Bronson. Betty’s mother put one of Anita’s photos in her home, and a man who was handling Betty’s fan mail saw it and said he was going into the business of handling stars. Anita called him, and he told her to be at the front gate of Paramount at 9:00 the next morning and to bring the picture. The casting director took one look at the picture and gave Anita a test. MGM was also interested. Anita was put through the dilemma of having to choose between MGM and Paramount contracts. She decided to take the MGM contract. Anita’s first MGM film was “Telling the World” (1927) with William Haines. Another early role was “While the City Sleeps” (1928) as Lon Chaney’s love interest. Anita’s biggest break was “Our Dancing Daughters” (1928) with Joan Crawford and Johnny Mack Brown. Anita made two more films with Joan Crawford, “Our Modern Maidens” (1929) and “Our Blushing Brides” (1930). In 1929, Anita appeared in two talkies, “The Hollywood Revue” and the Academy Award-winning “The Broadway Melody.” From about 1930 on, MGM began to lose interest in Anita’s career. Anita had admired the way Louis B. Mayer, studio head at MGM, groomed stars if he liked them and remained in his favor. However, when Mayer tried to get her into bed, that is when Anita drew the line. She liked him as a boss, but that is where it ended. In 1934, Anita wed songwriter Nacio Herb Brown, who had dedicated the song “You Were Meant for Me” to her. They never lived together because Anita said they were not married in the Catholic church. After nine months of marriage, Anita found out he was still married to his previous wife, so Anita had their marriage annulled. In 1937, Anita did marry in church, to a handsome naval officer named Herschel House. They were married fifty-four years until House died in 1992. The couple had two daughters.

Anita had many fond memories of her career, and thought she was blessed to have worked with so many of the greats like Lon Chaney, Buster Keaton, John Gilbert, William Haines, Clark Gable and Ramon Novarro, her favorite leading man. Anita Page died on September 6, 2008 of natural causes. She was 98 years old.

“Quality Street” (1927)

“Quality Street” (1927) is a silent comedy drama starring Marion Davies, Conrad Nagel and Helen Jerome Eddy. Based on the famous James M. Barrie play and directed by Sidney Franklin, “Quality Street” was a good showcase for Marion Davies. In this period story, Marion Davies plays Phoebe Throssel, a young woman who fails to land a proposal from her beloved, Dr. Valentine Brown, played by Conrad Nagel, before he leaves to the Napoleonic Wars. When he returns, Phoebe has become old and drab, and he is no longer interested in her. To punish him, Phoebe pretends to be her teenage niece Livvy in order to win him back.






Even though I’m not a big fan of costume dramas, I enjoyed this film mainly for the screen presence of Marion Davies. It was as a comedienne that Marion truly lit up the screen, and in this comedy of manners she is wonderful in the dual roles of Phoebe and Livvy. I think this silent version of “Quality Street” is terrific in its costumes, sets, and cinematography. I just wish there were more scenes where Marion could show off her comic skills. Although the film has some nitrate decomposition in some scenes, it shouldn’t deter from its enjoyment.

Marion Davies was born Marion Cecilia Douras to a large Brooklyn family on January 3, 1897. All three of her sisters went on the stage but, despite their beauty, never became big stars. The Douras family (soon stage-named Davies) moved to Manhattan and little Marion began finding the theater more fascinating than school. It was during her run in the 1917 “Follies” that she caught the eye of the married, powerful newspaper publisher William Randolph Hearst. It was life-long love at first sight for the fifty-four-year old Hearst. Within a few years, Marion was as dedicated to him as any wife could be. The legal Mrs. Hearst, however, refused him a divorce. Marion had made her film debut in “Runaway, Romany” (1917). The reviews were good, and Marion seemed well on her way to becoming another Mabel Normand, but then Hearst stepped in to guide her career. His taste ran to overblown period films. Ironically, Marion was a brilliant comedienne with limited dramatic skills.

In 1919, Hearst formed Cosmopolitan Pictures, a subsidiary of Paramount, through which the films were released. In 1924, Cosmopolitan changed the affiliation to Goldwyn, and thereby to MGM when the studios merged. Among Marion’s more successful costume dramas were “Little Old New York” (1923), “Lights of Old Broadway” (1925), “Beverly of Graustark” (1926), “The Red Mill” (1927), and “Quality Street” (1927). Later in the decade, Marion was given a few opportunities to show off her comic skills in films like “The Patsy” (1928) where she did hilarious imitations of Mae Murray, Lillian Gish and Pola Negri. In “Her Cardboard Lover” (1928), Marion did a wicked parody of costar Jetta Goudal. “Show People” (1928) was Marion’s finest hour. She showed great comic timing and the rare opportunity to poke fun at both herself and her profession.

Despite her slight stammer, Marion had nothing to fear from talkies. It was the quality of her scripts which gave her trouble. Hearst did fall out with Louis B. Mayer, and in 1934, Marion, Hearst, and Cosmopolitan moved to Warner Brothers. That studio dolled her up in stiff platinum-blonde wigs and starred her in four films. Only “Cain and Mabel” (1936) with Clark Gable really had any merit. Marion had enough and at the age of forty retired. She spent the next fourteen years as Hearst’s wife in all but name. Despite Hearst’s constant efforts to keep her away from liquor, Marion was an alcoholic. Her looks and health began to fade, but not her charm. After Hearst’s death in 1951, Marion quickly wed old friend Captain Horace Brown, more for companionship than for love. The marriage was a stormy one, but it endured. After suffering from jaw cancer for three years, Marion died on September 22, 1961. She was 64 years old.



It’s interesting to note that Marion’s beloved “niece,” Patricia van Cleve Lake, died in her early seventies on October 3, 1993, in California. Shortly thereafter, her son Arthur Lake, Jr. (son of the late actor Arthur Lake), announced that his mother was the daughter of Marion Davies and William Randolph Hearst, born in Paris sometime in the early 1920’s.

“College” (1927)

“College” (1927) is a silent comedy starring Buster Keaton, Anne Cornwall, and Flora Bramley. Directed by James W. Horne, this film stars Keaton in one of his most memorable roles as the hapless Ronald who gives a high school valedictory address that praises books and condemns sports. His girlfriend Mary thinks that’s nonsense. Afraid he might lose her, Ronald goes to college and tries to become a star athlete.

“College” is my favorite of Keaton’s silent comedies because the majority of the film’s gags concern Buster’s attempts to become a successful athlete in order to win back his girlfriend. It’s interesting to note that in 1927, before he began making films, Spanish director Luis Bunuel praised Keaton’s achievement in “College” for its simple cinematic style, and at least one segment in his classic surrealist film, Un Chien andalou (1929) may have been influenced by Keaton.



























Buster Keaton, The Great Stone Face, was a filmmaker and comedian. He wrote, produced, directed and acted in ten feature length comedies within five years in the 1920’s. He was also in 124 other films, short and long, over a 50 year period right up to his death in 1966. He and his parents and two younger children were a close and happy family for his first twenty years. His father had met his mother while playing in her father’s medicine show, and Buster was born on tour, in Piqua, Kansas. His very earliest stunt was observed by the famous magician, Harry Houdini, a member of their vaudeville company. When six-month-old Joseph rolled down a flight of stairs at a theatrical boarding house and came up laughing, Houdini and Joseph, Sr. nicknamed him Buster. There were many happy tours and pleasant family summers, but eventually alcoholism caught up with Joseph Keaton, Sr. Mrs. Keaton broke up the act in 1917, and Buster got a job on his own with a new musical review on Broadway for $250 a week. Before Buster could start, he visited the set of a Roscoe Arbuckle film production on East 48th Street. Buster was invited to do a bit part in the two-reeler starting that day, “The Butcher Boy” (1917). Buster turned down the $250 for a chance to work in a medium for $40 a week to start. Buster worked with Arbuckle from 1917 to 1919. Joseph Schenck, who had been handling the finances for the Arbuckle films, decided to let young Buster Keaton produce a series of his own pictures. Schenck left Buster free to work as he pleased, but he kept ownership of the films. Keaton had trusted his brother-in-law, Schenck, to take care of his business affairs, but in 1928, Schenck advised him to give up his independence and go to work at MGM. This took away Keaton’s creative freedom and after two more pictures he began to suffer personally and professionally. Keaton did stay busy, but the declining years were bitter and degrading. His marriage in 1921 to Natalie Talmadge, whose sister Norma had married Schenck, started well and it lasted ten years, but Keaton was appalled at his wife’s financial demands. The divorce took much of Keaton’s property and income and separated him from his two sons. Keaton developed a problem with alcohol, but his desire to live pulled him out of it. One day in 1938, Keaton was playing bridge at his mother’s house with some friends and he met a 19-year-old girl who also liked bridge. Eleanor Norris liked this humorous man who was so interesting and so kind to her. After a long acquaintance, she encouraged him to marry her and she stayed with him until his death in 1966.

Keaton lived long enough to receive an enthusiastic ovation at the 1965 Venice Fim Festival, but he did not live long enough to accept honors and applause from the new audiences that have come along and embraced his comedic style.

“The Black Pirate” (1926)

“The Black Pirate” (1926) is a silent action drama starring Douglas Fairbanks, Billie Dove and Donald Crisp. Directed by Albert Parker and written by Douglas Fairbanks, this film is a particular favorite of many of Fairbanks’ loyal fans.

The story begins with a lot of treacherous pirates having just captured and looted another ship. They then tie their captives to the mast and use the powder to blow up the ship. However, a father and son, played by Douglas Fairbanks, escape. When the father dies, the son vows revenge on the murderers responsible for his father’s death. Becoming the Black Pirate, he joins the crew and becomes their leader. However, his plans for revenge become more complicated when he meets his first captive, Princess Isobel, a beautiful Spanish princess, played by Billie Dove.


“The Black Pirate” was a huge hit, receiving both critical raves and box office patronage. The film is greatly enhanced by its beautiful two-strip Technicolor photography. The underwater photography sequences were spectacular in their day, and are still highly effective. Fairbanks looks terrific in “The Black Pirate.” He is amazing, especially when he executes a grand stunt in which he slides down a ship’s sail. Fairbanks was an accomplished boxer, gymnast, fencer, and horse rider offscreen, and his onscreen stunts presented few problems. With its impressive stunts by Fairbanks, sword fights, a damsel in distress and a last minute rescue, this silent gem is definitely worth discovering.


Born Lillian Bohny,Billie Dove was born in New York City on May 4, 1903. Billie was an exceptional beauty, and her brown hair lightly streaked with gray added to the dramatic effect. In 1927, Billie starred in a feature titled “The American Beauty” and became known by the nickname. Billie worked as an extra at Fort Lee, New Jersey, before receiving her first screen credit, “Get-Rich-Quick-Wallingford” (1921) and came to prominence with “All the Brothers Were Valiant” (1923). Billie was featured in two early Technicolor features, “Wanderer of the Wasteland” (1924) and “The Black Pirate” (1926), where she is “doubled” in the final love scene by Mary Pickford, who probably did not want her husband too close to the sultry Billie Dove. By 1926, Billie had become a star, but as she would be the first to admit, she was not a great actress. Billie credited director Lois Weber as the woman who taught her to act. For Weber, Billie starred in “The Marriage Clause” (1926) and “Sensation Seekers” (1927). Neither is a great film and does little to enhance Weber’s reputation as the major directorial talent that she was. Billie made in all 45 feature films, starring in 23 after she left Weber. As Howard Hughes’ mistress, Billie starred in two films, “The Age for Love” (1931) and “Cock of the Air” (1932). Billie was not particularly good in either film, and Hughes lost interest in her. Following the breakup with Howard Hughes and completion of “Blondie of the Follies” (1932), Billie married wealthy rancher Robert Kenaston in 1933 and settled down to a life of luxury. Billie died on December 31, 1997. She was 94 years old.

Frank Capra "Long Pants" (1927)

“Long Pants” (1927) is a silent comedy starring Harry Langdon, Priscilla Bonner and Alma Bennett. Directed by Frank Capra, this is Harry Langdon’s last memorable film. In “Long Pants” (1927), Harry Langdon is Harry Shelby, a compulsive reader of romantic fiction who imagines himself as a Don Juan. Once he gets, with his father’s help, a set of trousers of the appropriate size, he is smitten with desire for a world-weary woman, Bebe Blair, played by Alma Bennett, whose car has a flat tire in front of Harry’s house. Harry performs for her on his own bicycle, and gets her attention, but she goes away. Having read in the paper that Bebe has been arrested, he is determined to save her from the clutches of the law. Since it is his wedding day with his childhood sweetheart Priscilla, played by Priscilla Bonner, Harry feels he must get rid of his unsophisticated bride by killing her. I have to admit that I wasn’t amused by this film; I found it disturbing. Even though Frank Capra’s direction is worthy of acclaim with clever camera angles, the macabre scenes of comedy were influenced by gag writer, Arthur Ripley, who was being favored by Langdon over director Frank Capra. Capra had an amazing ability to convey the human condition with a positive message which is certainly not present in this film. In “Long Pants”(1927), we see Harry Langdon as a terribly lonely and melancholy poor soul lost in a dark world. A lonely, melancholy character was not one that most Americans wanted to watch, much less identify with. I think Harry Langdon wasn’t as successful as the other silent comedians, Chaplin, Keaton, and Lloyd, because he was very depressing to say the least. In contrast, Lloyd, the all-American boy in action, always overcame his limitations while Keaton, the great stone face, was hardworking and optimistic. Even Chaplin’s little tramp offered both the joy and the tragedy of human life. Langdon certainly deserves to be remembered as one of the best comedians of the silent era, but for those who are being introduced to him, it is best to start with “Tramp, Tramp, Tramp” (1926) and “The Strong Man” (1926).

Born in 1884, Harry Langdon grew up in Nebraska. At thirteen, Langdon joined a traveling medicine show. For a couple of years, on the road and in Omaha, he did comedy routines and later joined a circus. Eventually Langdon’s sure-fire act was seen in Los Angeles. Harold Lloyd praised him to Hal Roach, who made an offer which Langdon turned down. Sol Lesser met his demands, then sold his contract to Mack Sennett. Sennett took the Langdon person, still undeveloped, and put it through familiar Sennett situations. Unfortunately, it was mostly a mismatch because a character pattern like Chaplin’s was needed. With no inkling of his future fame as a comedy director, Frank Capra was hired as a gag writer along with Arthur Ripley working on Langdon’s first First National feature length film, “Tramp, Tramp, Tramp” (1926). Capra saw Langdon as the little elf, in contrast to Chaplin’s little tramp. Unlike Chaplin, who might be beset by hopeless odds but could often take arms against a sea of troubles, Langdon was funny because he was unable to take action. He would have things happen to him, and these surprises would be entertaining. The solid success of this hour-long feature fed the confidence of both Capra and Langdon. His conflict with Capra began with the beginning of his second feature film, “The Strong Man” (1926), which was a very big hit and prompted Photoplay magazine to place Langdon in the select company of the top money-making comedians, Chaplin and Lloyd. Langdon’s third feature film, “Long Pants” (1927) was some kind of early film noir-a Ripley film, not a Capra film. When Ripley and Capra had disagreements on the script or the performance, Langdon evidently sided with Ripley. The long-term result was that each of them spread the word around Hollywood that the other one was impossible to work with. Capra was unemployable for months. He managed to direct an independent film in New York, then rejoined Mack Sennett at his old salary as a gag man, until Harry Cohn picked him out of a list of directors to come to Columbia Pictures. Langdon’s three memorable films were not enough to make him rich, but after the failure of the next three, he continued to be in fairly comfortable circumstances through the 1930’s and early 40’s, starring in short subjects for Hal Roach, Paramount, and for Jules White at Columbia.

Spite Marriage (1929).

Spite Marriage (1929). Silent comedy film. Cast: Buster Keaton and Dorothy Sebastian and Leila Hyams. Keaton and Edward Sedgwick co-directed.

Elmer, works for a dry cleaner, who idolizes stage actress, Trilby Drew . She, is in love with actor, Lionel Benmore. He dumps her for the younger Ethyl Norcrosse. On impulse, Trilby marries Elmer. Her handlers get her out of the marriage and Elmer finds himself in trouble with some criminals. What will become of Elmer?

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“Her Sister from Paris” (1925)

“Her Sister from Paris” (1925) is a silent romantic comedy starring Constance Talmadge, Ronald Colman and George K. Arthur. Directed by Sidney Franklin, this film allowed Constance Talmadge to demonstrate her comic range in dual roles.

The story begins with an Austrian couple, Joseph Weyringer, played by Ronald Colman, and his wife, Helen, played by Constance Talmadge, having serious problems in their relationship. Helen feels that her husband doesn’t appreciate her. Upset with how the two keep arguing, Helen tells Joseph that she will be staying with her mother and leaves their home. Joseph’s friend, Robert, played by George K. Arthur, encourages him to have some fun while Helen is away. When both men discover a photo of Helen’s twin sister, they are both shocked that she is a professional dancer living in Paris and will be performing in Vienna. Joseph points out to Robert that Helen’s twin sister, who is also known as Madame La Perry, is quite attractive and both men decide to have fun by watching La Perry perform live. Meanwhile, Helen goes to see her sister in her dressing room and tells her about her marital problems. La Perry thinks her sister needs to get away from her old fashioned style and gives her a bobbed haircut. After La Perry’s performance, Helen is happy about how the audience supported her sister. However, she is upset to see Joseph in the audience having fun so soon after leaving him. Back in the dressing room, Helen is reduced to tears and believes that Joseph is no longer interested in her. La Perry comes up with an idea to teach Joseph a lesson by having Helen pretend to be her twin sister. Helen immediately starts playing the part of her twin sister. Will Helen find out if her husband loves her or La Perry?
















“Her Sister from Paris” (1925) reunited Constance Talmadge with the “Her Night of Romance” (1924) team: Hans Kraly wrote the story, Sidney Franklin directed and Ronald Colman costarred. The plot is not unfamiliar; it was made in 1934 as “Moulin Rouge” with Constance Bennett and in 1941 as “Two-Faced Woman” with Greta Garbo. Even though it might seem a predictable and not very original film, “Her Sister from Paris” is a delightful comedy. Constance’s acting abilities come through in many scenes especially when she is trying to seduce Colman. Constance and Colman give top-notch performances and they have great onscreen chemistry. I thought the gowns and lingerie designed by Adrian very early in his career were absolutely gorgeous. Even though the film suffers from nitrate decompositon in some scenes, it is still a joy to watch. Constance was clearly a natural comedienne, and it’s a shame that so many of her films have been lost and so few are available on DVD.


Born on April 19, 1898, in Brooklyn, New York, Constance Talmadge was one of Hollywood’s most popular comediennes. She achieved film immortality as the Mountain Girl of ancient Babylon in D.W. Griffith’s “Intolerance” (1916). Her older sister, Norma Talmadge, had become a star several years before her as a dramatic actress, while Constance’s specialty was sharp, witty comedies. When Norma married producer Joseph Schenck, it proved to be beneficial to both sisters. Schenck and Lewis J. Selznick bought up Constance’s contract and distributed her films through Select, First National, and United Artists for the rest of her career. With the coming of sound, the First National agreement was terminated in 1927. She made one last silent film, “Venus” (1929) for United Artists release and happily retired. Constance made a total of 84 films from 1914 to 1929. Constance died of pneumonia on November 23, 1973. She was 75 years old.

“Sally of the Sawdust” (1925)

“Sally of the Sawdust” (1925) is a silent comedy starring Carol Dempster, W.C. Fields and Alfred Lunt. Directed by D.W. Griffith, this film is a fascinating departure from the austere moral drama in which he specialized.












The story opens with the circus coming to town. Sally, played by Carol Dempster, is a circus waif who has been raised by a lovable con man, Professor Eustace McGargle, played by W.C. Fields, a sideshow juggler and entertainer. Flashbacks reveal that Sally’s mother had married a circus man against her father’s wishes and was ordered never to return home. Later, Sally’s mother became a widow with a child, and on her death bed entrusted her little girl to their best friend, McGargle. Now that Sally is a teenager, McGargle decides to return her to her grandparents who now live in Green Meadow. Stranded and broke in the town of Burryville, McGargle and Sally steal a ride on a train. Once they arrive in Green Meadow, McGargle and Sally both stir controversy when attending a charity event for homeless children near the estate of the very wealthy Judge Henry L. Foster, played by Erville Anderson and his wife, played by Effie Shannon, Sally’s grandparents. Complications arise when Peyton Lennox, the son of a respected citizen from Green Meadow, played by Alfred Lunt, meets and falls in love with Sally. Even though McGargle escapes arrest for dealing in a crooked card game, Sally is arrested for being his accomplice and must stand trial to be placed in a home for delinquent girls. Meanwhile, Peyton is sent out of town by his father in the hope that he will forget Sally. The ending is quite surprising.



“Sally of the Sawdust” was based on W.C. Fields’ popular play, “Poppy.” W.C. Fields in his second appearance on the screen made a standout characterization within a story that had mystery, jazz, comedy, romance and drama. Although it is remembered solely as a Fields’ comedy, Carol Dempster acquires most of the attention under Griffith’s careful supervision. Even though much has been said against the actress about her looks and talent, her plain looks only add to her role as Sally. One of my favorite scenes is during the charity event when Carol gets a complete makeover with styled hair, sparkling jewelry, and an evening gown. I think Carol was quite comical in many of the scenes with Fields. However, she gives a touching performance during the final courtroom battle. I liked, in particular, how Fields showcases his skills as a physical comedian in this film. He does a few inventive juggling acts and he is so graceful. Even though “Sally of the Sawdust” is not one of Griffith’s masterpieces, it is an enjoyable film to watch with its pristine quality print and the screen presence of W.C. Fields and Carol Dempster.




Born in Duluth, Minnesota, on December 9, 1901, Carol Dempster moved with her family to California, where she came to the attention of Ruth St. Denis and joined her dance school. She is apparently one of the dancers in the Babylonian sequence of “Intolerance” (1916), but whether Griffith noticed her at this point is unknown. Within three years, Carol was featured in Griffith’s productions of “A Romance of Happy Valley,” “The Girl Who Stayed at Home,” and “True Heart Susie,” all released in 1919. “The Love Flower” (1920) was Carol’s first starring role followed by “Dream Street” (1921). She gave one performance in a non-Griffith production, “Sherlock Holmes” (1922) starring John Barrymore. Carol ended her career starring in six of Griffith’s last films, “The White Rose” (1923), “America” (1924), “Isn’t Life Wonderful” (1924), “Sally of the Sawdust” (1925), “That Royle Girl” (1925) and “The Sorrows of Satan” (1926). Carol Dempster was the last star created by the man credited with creating the American motion picture as we know it today. Carol Dempster died on February 1, 1991. She was 89 years old.

"The Red Kimona" (1925).

“The Red Kimona (1925) is a silent romantic drama starring Priscilla Bonner, Carl Miller, and Theodore von Eltz. Directed by Walter Lang in collaboration with Adela Rogers St. John and Dorothy Arzner, who wrote the story, and Dorothy Davenport Reid, who co-directed and produced, this film was the subject of a landmark California lawsuit. The story begins with a naïve small town girl, Gabrielle Darley, played by Priscilla Bonner, who finds escape from her cruel home life in the arms of a handsome stranger, Howard Blaine, played by Carl Miller, who promises to marry her in New Orleans. Soon Gabrielle finds herself working as a prostitute in New Orleans and clinging to the belief that Howard really loves her. When Gabrielle discovers Howard buying an engagement ring for another woman, she ends up killing him. Gabrielle’s murder trial draws much publicity and she finds herself befriended by a rich society woman, Mrs. Beverly Fontaine, played by Virginia Pearson, who professes concern for her. After her acquittal, Gabrielle goes to live with Mrs. Fontaine intending to start a new life. Unfortunately, with the publicity value of being seen with her protégé gone, Mrs. Fontaine sends Gabrielle riding alone. Unable to find an honest job because of her past, Gabrielle becomes homeless and penniless.


“The Red Kimona” (1925) is a social commentary film that was made from a woman’s point of view. Dorothy Davenport Reid had entered film production following the drug-related death of her husband, Wallace Reid in 1923. Her first two films were produced in association with Thomas H. Ince, but for her third effort, “The Red Kimona” (1925), a strange main title spelling for Kimono, which was corrected in the publicity for the film, she formed her own company. Gabrielle Darley, on whose life story the film was based and who had since married a prominent physician was unhappy with “The Red Kimona” (1925). Gabrielle Darley sued, claiming the film denied her right “to pursue and obtain happiness,” as guaranteed by the California constitution. Eventually, in 1931, she won, and Dorothy Davenport Reid began the decade penniless.
I think “The Red Kimona” (1925) is an interesting film that seems very modern in its sensibilities. In fact, the film denounces the social hypocrisy towards Gabrielle Darley. Overall, I found it to be a frank discussion of a society that often fails women. Priscilla Bonner gives a restrained but moving performance as an abandoned woman. Her eyes were so expressive and conveyed so much emotion. One of my favorite scenes is the one in which Priscilla Bonner looks in the mirror and sees herself wearing a wedding dress and veil and then all of a sudden she notices that she is not wearing a wedding dress and veil but instead, a red kimono. I liked how the red kimono stood out because of its crimson color in contrast to the usual black and white. Only 80 minutes in duration, “The Red Kimona” (1925) includes a thrilling finale with crossed fates, redemption, and true love.





Born in Washington, D.C., on February 17, 1899, Priscilla Bonner’s first featured film was “Homer Comes Home” (1920) with Charles Ray. While she never became a star, Priscilla appeared in some 30 silent films and co-starred with such luminaries as Will Rogers in “Honest Hutch” (1920), Lon Chaney in “Shadows” (1922) and Ronald Colman in “Tarnish” (1924). Priscilla had one of her greatest film successes in “Drusilla with a Million” (1925), which only helped to support Hollywood’s opinion that she was an accomplished actress taking on more fulfilling roles. In July 1925, Priscilla was thrilled to know that she would be John Barrymore’s leading lady in “The Sea Beast.” Priscilla’s acting ability didn’t cause her to lose her role, but rather John Barrymore’s meeting and infatuation with Dolores Costello. If modern audiences know Priscilla at all, it is because of her role as Harry Langdon’s leading lady in “The Strong Man” (1926) and “Long Pants” (1927), which were directed by Frank Capra. At the time Harry Langdon was rejecting the advice of Capra. Priscilla was very fond of Capra and thought Langdon would have soared with him. In 1927, Priscilla appeared in Clara Bow’s most famous film, “It” (1927), as a single mother. Priscilla retired from films after “Girls Who Dared” (1929). She died on February 1, 1996. She was 97 years old.

The Winner Is... Silent Film: Wings (1927). It was the first film to win the Academy Award for Best Picture and the only silent film ever to win Best Picture.

Wings (1927), Silent film about World War I fighter pilots, directed by William A. It was the first film to win the Academy Award for Best Picture and the only silent film ever to win Best Picture. Cast: Clara Bow, Charles "Buddy" Rogers and Richard Arlen. Gary Cooper appears in a scene which helped launch his career in Hollywood and also marked the beginning of his affair with Clara Bow.

In 1917, in a small town, Jack Powell works on his car, while daydreaming about airplanes. Jack names his car the "Shooting Star" while Mary Preston, paints a star on his car. Oblivious to Mary's feelings for him, Jack invites Sylvia Lewis, to join him on the first drive. Sylvia goes along, but she is in love with David Armstrong, who comes from a wealthy family. Later, when the United States enters World War I, Jack and David enlist in aviation school. Before they leave, Sylvia signs a picture of herself and puts it in a locket for David, but Jack thinks it is meant for him, she does not have the heart to tell him the truth. David, is hurt, but Sylvia explains that, although Jack has her picture, David has her heart. Jack almost forgets to say goodbye to Mary, but then runs back to tell her that she can use the car. During basic training, problems come between Jack and David, will they put their differences aside and become friends?

The air battles in this film I thought were amazing.

Jobyna Ralston (November 21, 1900 – January 22, 1967), parents who named her after a famous entertainer of the time, Jobyna Howland. Ralston's mother, a portrait photographer, carefully prepared her daughter for a show business career.

Comedian Max Linder, saw her on stage and thought she would be perfect for Hollywood, where she appeared in a number of his films. She also co-starred in, Humor Risk (1921), the lost comedy short film debut of the Marx Brothers. Soon director Hal Roach began to star the actress in one-reel comedies. She left the stage for the screen in 1922 when her mother's health began to decline and she needed to make more money to help pay the medical bills.

She starred with silent comedian Harold Lloyd in, Why Worry?(1923) and for the next five years appeared in six of Lloyd's films as his leading lady. It is for her onscreen chemistry with Lloyd that she is best remembered today. She would start the trend for romantic comedies with, Girl Shy.

Ralston co-starred with Richard Arlen, in the first Oscar-winning film, Wings (1927), with,Clara Bow, Gary Cooper, and Buddy Rogers. She would star in eleven more films . Her film career ended after when she became a mother. Her last talkie, Rough Waters (1930), with co star, Rin Tin Tin.

“Sunrise: A Song of Two Humans” (1927)

“Sunrise: A Song of Two Humans” (1927) is a silent romantic drama starring George O’Brien, Janet Gaynor, and Margaret Livingston. Directed by F.W. Murnau, this film ranks among the best ever made. The story begins with a small town farmer, played by George O’Brien, neglecting his wife, played by Janet Gaynor, and having an affair with a vacationing woman, played by Margaret Livingston, from the big city across the water. When the woman suggests that the man kill his wife by drowning her on a boat ride to the big city, he is consumed with the thought of escaping his life in the village. Once he is on the boat and ready to commit his horrible act, he looks into his wife’s eyes and realizes the love that she has for him is more powerful than the fling he is having with the woman from the big city. After reaffirming their love for each other they embark upon a second honeymoon through the city. Unfortunately, a storm hits as they are crossing the water back to their home.

In terms of production design and photography, “Sunrise” represents the very best of Hollywood. Even though its commercial success was limited by the competition of the new talkies, “Sunrise” was an enormous critical success. The impact of “Sunrise” as a film, and of German director F.W. Murnau as a new artistic leader was enormous, especially at Fox where directors tried to emulate his style. The story is rather simple, but the innovative cinematography is mesmerizing and stands alone as a wonderful display full of beautiful scenes and images. Many of the camera techniques used in the film were avant- garde for the time and seta new foundation of filmmaking for future directors. I noticed that the camera was extremely mobile, especially in fairly small and limited areas. I liked the suspense and tension as well as humor and humanity that the film offered in some scenes, particularly the one where O’Brien breaks down in tears in front of Janet Gaynor when he remembers their wedding vows. What impressed me the most about the film was that it was almost told with just visuals and music. There are hardly a dozen subtitles for a 90 minute film. This is a testament to Murnau’s talent for storytelling. A beautiful, poignant film with superb performances by the two leads, “Sunrise” is a masterpiece of the silent era. It is interesting to note that Janet Gaynor won the Best Actress Academy Award for her body of work that also included “Seventh Heaven” (1927). Cinematographers Charles Rosher and Karl Krauss got an Oscar for their work in “Sunrise” (1927). “Sunrise” itself received an Academy Award for “Most unique and artistic production.”

With his good looks, outgoing personality, and athletic credentials, George O’Brien was a natural for Westerns, a genre in which almost all of his sound career was spent. He became a star in John Ford’s “The Iron Horse” (1924) and ended his career as a character actor in two Ford films, “Fort Apache” (1948) and “She Wore a Yellow Ribbon” (1949). O’Brien was able to immerse so totally in the character of the husband in Murnau’s “Sunrise” (1927) that one cannot wonder why an entirely different career did not open for him. O’Brien was very much the answer to the Latin-lover type, a well built, all-American who could ride and fight. He was a former boxer, who had initially wanted to be a cameraman, and he starred in two boxing features, “The Roughneck” (1924) and “Is Zat So?” (1927). O’Brien looked good stripped to the waist, as he usually was in most of his early films. “Sunrise” changed O’Brien’s image; it proved that he was also a very fine, sympathetic actor, but it went contrary to his studio-created personality. It did, however, obtain for the actor the starring role in “Noah’s Ark” (1928), which again brought out a strong performance from O’Brien, playing both a Biblical and modern hero. O’Brien’s sound films, virtually all action pictures, are fun to watch because of the actor’s cheery disposition, but they all hint at lost opportunities. George O’Brien died on September 4, 1985. He was 86 years old.

"Torrent” (1926)

“Torrent” (1926) is a silent romantic drama starring Ricardo Cortez, Greta Garbo and Gertrude Olmstead. Directed by Monta Bell and adapted from the novel by Spanish author, Vicente Blasco Ibanez, “Entre Naranjos,” this film is a story of lost love and missed chances. Leonora Moreno, a peasant girl, played by Greta Garbo, and Rafael Brull, played by Ricardo Cortez, have grown up in the same Spanish village. Although they are in love, Rafael is from an aristocratic family and dominated by his mother, Dona Bernarda Brull, played by Martha Mattox. Dona Bernarda forbids the relationship causing Leonora’s family to be kicked out of their home. Leonora’s father, Don Pedro Moreno, played by Edward Connelly, decides to take his daughter off to Paris where her trained voice is sure to be a hit. Meanwhile, her mother, Dona Pepa Moreno, played by Lucy Beaumont, is left behind to work as a maid for Dona Bernarda. After Leonora leaves for Paris, Dona Bernarda convinces Rafael that Remedios Matias, played by Gertrude Olmstead, would be the ideal wife for him mainly because her father, Don Matias, played by Mack Swain, has grown rich in hog raising, and he becomes engaged to her. While living in Paris, Leonora becomes a famous opera singer, La Brunna, and develops a reputation for being a loose woman. When Leonora returns to her home to see her mother, she and Rafael meet again and their love is rekindled. Unfortunately, Dona Bernarda separates them again, and he marries Remedios. Years later, Leonora and Rafael meet again. She is still beautiful, but he looks older than his years and is an unhappily married man with two children. The ending is surprising.











“Torrent” (1926) was Garbo’s American film debut and it helped establish her as a big star. With magnificent sets and costumes, this was MGM filmmaking at its best. The special effects must have been quite remarkable for their time. With no language barrier to deal with, the Swedish actress was able to play a Spanish peasant turned temptress with no disbelief from the audience. Handsome Ricardo Cortez was quite convincing as a Spaniard and does an admirable job appearing foolish and growing old ungracefully. One of the things I liked most about the film was the use of sepia, blue, lavender and red hues throughout. I liked the scene where Cortez braves the torrent in a row boat trying to rescue Leonora. One of my favorite scenes is when a lovesick Cortez wanders back to Garbo’s home and tells her he needs her and they dissolve into each other’s arms. The scene in which Cortez and Garbo are lying near the orange blossoms is breathtakingly romantic and very well done. “Torrent” is worth watching just for its stunning cinematography and Garbo’s impressive American film debut.

Ricardo Cortez, who looked like Latin Lover Rudolph Valentino, was invented, named and groomed to become a direct rival. Ironically, he wasn’t Latin at all, having been born Jacob Krantz to an Austrian Jewish family in New York City. He became starstruck growing up in Manhattan, began playing bit parts in New York-based films, and after moving to Hollywood, his appearance in a dance contest won him a Paramount contract. Jesse Lasky of Paramount was in the audience and noticed how much Krantz resembled Valentino. Lasky immediately offered Krantz a contract and began preparing him to take Valentino’s place. Lasky’s secretary picked the name Ricardo Cortez when it was decided the young actor needed a Latin name. Krantz stuck with his new name and went on to make ninety pictures from 1924 to 1958, all under the name of Ricardo Cortez. He also achieved a considerable degree of prominence during the silent era with films such as “Argentine Love” (1924), “The Spaniard” (1925), “The Swan” (1925) and “Torrent” (1926). Cortez moved easily into talkies and starred in such films as “The Maltese Falcon” (1931), “Symphony of Six Million” (1932), “Midnight Mary” (1933) and “Torch Singer” (1933). When Cortez retired from the film business, he went to work as a stockbroker on Wall Street. Cortez died in New York City on April 28, 1977. He was 76 years old. He was the brother of noted cinematographer Stanley Cortez (born Stanislaus Krantz).


Dona Bernarda has in mind Remedios Matias, played by Gertrude Olmstead, as a daughter-in-law mainly because her father, Don Matias, played by Mack Swain, has grown rich in hog raising.

“Camille” (1921)

“Camille” (1921) is a silent romantic drama starring Alla Nazimova, Rudolph Valentino, and Patsy Ruth Miller. Directed by Ray C. Smallwood, this film was adapted from the novel by French author, Alexandre Dumas, “La Dame aux camelias,” and the scenario for this modern day version was written by June Mathis.

The story begins with a Parisian courtesan, Marguerite Gautier, played by Alla Nazimova, despising her life and not being able to break free of it. She also has tuberculosis and is frequently beset by bouts of illness. One evening, Marguerite meets a young law student, Armand Duval, played by Rudolph Valentino, at the opera. Armand pursues her, but she rejects his advances at first. Eventually, Marguerite and Armand begin a relationship and they start living together. Marguerite’s love for Armand is a way out of her sordid way of life. Unfortunately, Armand’s father, Monsieur Duval, played by William Orlamond, demands that Marguerite renounce Armand for the sake of his own future and that of his sister. Marguerite finally relents and runs away to a wealthy client, leaving a note for Armand.


By the fall of 1921, Valentino was solidly established in the movies, and he was a name. Playing Duval to Nazimova’s modern-dress Camille was no easy assignment. Nazimova was an actress of great experience and talent. Against her somewhat cold but forceful performance, Valentino seems low-key and subtle, and he blows her off the screen. Nazimova knew it, and cut him completely out of her death scene. Valentino absolutely commands attention, despite Nazimova’s Art Deco costumes and bizarre settings. In “Camille” (1921), Valentino was expected to be her co-star, yet he managed to establish himself much more strongly in the film than she did. “Camille” (1921) was not a financial success, but Valentino was not harmed by it. He and Nazimova made a curious pair and a sharp contrast in film acting styles. Valentino was a movie star as opposed to an actor. Nazimova was more theatre- oriented and at times her performance goes far over the top. “Camille” (1921) was designed with magnificent sets and costumes by art designer Natacha Rambova, who became Valentino’s second wife. One of my favorite scenes was the daydream sequence where Nazimova appears as Manon Lescaut and Valentino as Manon’s lover. Even though I like the 1936 version with Greta Garbo and Robert Taylor, I think Valentino was more expressive than Robert Taylor. The love scenes with Valentino and Nazimova were subtle and very well done.




Alla was born Mariam Edez Adelaida Leventon in the Ukraine on June 3, 1879, of Jewish parents. At age 17, abandoning her training as a violinist, she quietly studied theatre with assorted young actresses with whom she shared a boarding house. At age 17, she auditioned at the Philharmonic School in Moscow with Konstantin Stanislavsky. Her work with the Moscow Art Theatre led to tours of the United States, where she impressed the Shubert Brothers. The theatrical giants opened her in “Hedda Gabler” in English. For the following several years she established a reputation as the outstanding portrayer of the Ibsen works, “A Doll’s House,” “The Wild Duck,” “The Master Builder,”and “Little Eyolf.” During the early years of World War I, Alla appeared on the stage in a one-act pacifist drama, “War Brides.” Alla also debuted in films in “War Brides” (1916) and immediately created a sensation with her exotic manner, powerful presence, and sincere portrayal. Metro offered her a five-year, $13,000 a week contract, and she had a meteoric career appearing in 17 silent films. As her success in films grew, Alla became convinced that she alone could best direct her efforts. After several major companies refused to finance the projects, she made the unwise decision to produce both “A Doll’s House” (1922) and “Salome” (1923) with her personal savings. “A Doll’s House” (1922) was extremely well acted and Alla was said to be truly effective in her emotional scenes. Alan Hale, Alla’s leading man in the film, was a pioneer film actor in hundreds of films from 1911 to 1950. “Salome” (1923) is so outlandishly stylish and bizarre that it is actually enjoyable. Unfortunately, both “A Doll’s House” (1922) and “Salome” (1923) were critical and commercial failures. After her production of “Salome” (1923), Alla lost what remained of her fortune. Left with few options, Alla returned to perform on Broadway. In the early 1940’s, she appeared in a few more films, playing Robert Taylor’s mother in “Escape” (1940) and Tyrone Power’s mother in “Blood and Sand” (1941). Alla died on July 13, 1945. She was 66 years old.

“The Show- Off”(1926)

“The Show- Off”(1926) is a silent comedy drama starring Ford Sterling, Lois Wilson, and Louise Brooks. Directed by Malcolm St. Clair, this is the first of the four film adaptations of the George Kelly play. The story begins with Aubrey Piper, played by Ford Sterling, posing as a railroad executive even though he is really just a $30 a week clerk. He manages to convince a girl from a nice family, Amy Fisher, played by Lois Wilson, that he is rich and successful. Amy’s mother and father dislike Aubrey, but Amy loves him dearly despite his boastfulness. After the wedding, Amy realizes that Aubrey is not rich nor famous. They move into a small apartment, but life is tough because they have trouble paying the bills. When Amy’s father dies, the couple decides to move back into her mother’s home. Surprisingly, Aubrey wins a car in a raffle. Unfortunately, he picks up the car not knowing how to drive and causes some accidents by driving in the wrong lane. At Aubrey’s court hearing the judge hands him a $1,000 fine. Amy’s brother, Joe Fisher, played by Gregory Kelly, pays it with the $1,000 check his father gave him before he died to pay the mortgage. Joe actually prefers losing the house than to have a family member locked up in jail. What happens next is interesting and surprising.


Even though “The Show-Off” is fairly predictable, it is worth watching just to take a look at the legendary and beautiful Louise Brooks in a supporting role as the girlfriend of Joe Fisher, played by Gregory Kelly. I liked the scene where Clara, played by Louise Brooks, catches Aubrey counting portions during the prayer before dinner. I also liked the scene in which Joe and Clara reacted to the death of Pop Fisher. No subtitles were needed because their expressions said it all. Ford Sterling, best known as the chief of the Keystone Cops, gives a wonderful performance as the boastful and pompous Aubrey Piper. His body language and facial expressions bring his character to life. He was certainly a natural comedian. Lois Wilson, who was one of the most dedicated actresses of the silent screen, gives a sympathetic performance as Aubrey’s loving wife.


Born Mary Louise Brooks in Cherryvale, Kansas, on November 14, 1906, she began her entertainment career as a dancer appearing with the Ziegfeld Follies as well as the Ruth Saint Denis’ dance company. Signing with Paramount, Louise’s film debut was in “The Street of Forgotten Men” (1925) in an uncredited role. In 1926, Louise made six pictures at Paramount: “The American Venus,” “Love ‘Em and Leave ‘Em,” “A Social Celebrity,” “It’s the Old Army Game,” “The Show-Off,” and “Just Another Blonde.” Embittered over studio politics and longing for a new adventure, Louise shocked the industry by abandoning Paramount to work with director G. W. Pabst in Berlin, Germany. When Pabst saw Louise in Howard Hawks’ “A Girl in Every Port” (1928), he was convinced that she was ideal for the role of Lulu in “Pandora’s Box” (1929). At the time Louise was involved with a Paramount contract and was not available. Pabst settled on Marlene Dietrich, but before shooting began, a cable came from Paramount saying that Louise was willing to play the role. The film was not well liked in Germany, where there was resentment in having an unknown American play an important German dramatic role. In the United States, the film had no chance at all. It was reedited by its importers to make it seem that Lulu was reformed by joining the Salvation Army. Ironically, it was Louise’s waif like role as the doomed flapper Lulu that made her an international sensation and an icon of the Jazz Age. Her sleek, bobbed hairstyle was talked about in every film and fashion magazine and countless women copied it. In 1929, Louise reunited with Pabst and starred in “Diary of a Lost Girl” (1929), a silent study of a troubled young woman that would in time gain cult status. In 1930, Louise Brooks starred in “Miss Europe,” a French film released in both silent and sound versions and titled “Prix de beaute” in its native land. After being cast in B pictures by studio executives as punishment for her defiance, Louise retired from film in 1938. She returned to Kansas and tried teaching dance, but she was not suited for the job. Louise moved to New York City where she worked as a sales clerk at Saks. She lived in obscurity and destitution until former lover, Bill Paley, the founder of CBS, set up a monthly stipend that supported her for the rest of her life. In the 1950’s, French film historians discovered Louise in Rochester, New York. With the help of such film writers as James Card and Kenneth Tynan, she became a sought after film historian and accomplished writer. Louise Brooks died on August 8, 1985. She was 78 years old.