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The iconic Louise was all cool, stunningly contrasts: Black hair, white pearls, black dress against marble-white skin. It's hard to imagine her moving, let along speaking. The real Louise was bold, spirited and defiant. She claimed to have slept with Greta Garbo and joined Charlie Chaplin in an orgy that went on for days. Bluestockings like her mother's friends back home would have called her a shameless hussy (assuming they could bring themselves to address such shocking behavior at all), but Brooks figured she and her show business friends were young, attractive, bubbling with energy and lucky enough to have escaped Depression-era poverty because fate dealt them a great hand; why wouldn't they let the good times roll? It's not as though they were hurting anyone. Except, of course, themselves: Chaplin's leftist politics earned him the dangerous enmity of J. Edgar Hoover's FBI, but it was his compulsive priapic adventuring that turned the tide of public opinion against their beloved Little Tramp and drove him to seek refuge in Switzerlande. That said, Chaplin's exile was cushy: Molded by a childhood of Dickensian poverty and deprivation, Chaplin managed his career and finances with the ruthless pragmatism of a man perpetually waiting for the other shoe to drop. . Brooks' smart-talking, sophisticated facade lay lightly over an inner Blanche Dubois: Strangers had always been kind, as they are to lovely, uninhibited girls, and she made no provision for the day they wouldn't. She was impulsive and impractical, a knee-jerk authority hater smart enough to know how she ought to handle studio politicking and too stubborn to do it. Hollywood executives liked their stars malleable and insecure, and Brooks refused to play the game. She appeared in 14 American movies between 1925 and 1929, then decamped for Europe, where she made her three finest films: the German Pandora's Box and Diary of a Lost Girl (both 1929) and the French Prix de Beaute (1930). The first shock of Pandora's Box, adapted from German playwright Frank Wedekind's once-scandalous Erdgeist and Die Buchse der Pandora, is Brooks' vivacity. In action she's mesmerizing, bold and capricious, sensual and direct. She knows how to drape herself over a sofa, how to reach out her arms to be embraced, how to stroke a man's hair or a woman's arms. Brooks is thoroughly sensual without a trace of calculation, and Pandora's Box vibrates with her erotic energy. Pabst had seen her in Howard Hawks' A Girl in Every Port (1928) and was convinced she was the only actress who could play gorgeous guttersnipe Lulu, a girl of mysterious background and startlingly directness. But she wasn't available, and Marlene Dietrich, veteran of more than a dozen undistinguished sex romps, was campaigning hard for the lead. Dietrich, still carrying a little baby fat and three years away from The Blue Angel, which wrote her ticket to Hollywood stardom, knew a star-making role when she saw one. And Pabst was ready to sign her, despite finding Dietrich "too old [all of 26] and too obvious — one sexy look and the picture would become burlesque," when the 22-year-old Brooks was suddenly at liberty. |
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Brooks' Lulu is a quicksilver mass of contradictions: Innocent and worldly, calculating and aimless, sophisticated sphinx and unworldly girl. She likes sex, but she likes luxury even more. Brooks plays Lulu as a tremendously modern seductress; she knows the face that will get her what she wants, and doesn't hesitate to put it on.. What her Lulu lacks in breeding and education she makes up for with feral savvy. She knows what secrets lurk in the hearts of men, and they're not very complicated. Lulu seduces Herr Schoen, a much older newspaper man, and breaks up his plans to marry a more respectable girl. On their wedding day, Schoen finds her in the arms of not one rival, but three: Lulu waltzes seductively with the lesbian Countess Gerschwitz, kisses Schilgoch — an older man whom she represents variously as her father and her friend — and embraces Schoen's own grown son, Alwa. Why? Because she wants to.
Schoen goads Lulu into shooting him and she's charged with murder. And yet somehow, a vision in widow's weeds and downcast eyes, she seduces the jury gets away with being convicted of manslaughter. When a false cry of fire goes up in the courtroom, she escapes in the melee, and she and Alwa flee to Monte Carlo. He gambles away their money and she's sold to an Egyptian whoremaster, but she, Alwa and Shilgoch manage to escape to London. Within months they're destitute, and Lulu — the only one with anything worth selling — takes her wares to the street. "It is Christmas Eve," Brooks wrote decades later in an essay collected in Lulu in Hollywood, "and she is about to receive the gift that has been her dream since childhood. Death by a sexual maniac." Lulu's first and last London client is Jack the Ripper.
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| The fifth movie adapted from Frank Wedekind's "Lulu" plays, Pandora's Box is saturated with sex and Brooks' recollections of Berlin, where Pandora's Box was shot, suggest part of the reason. This was the Berlin of Cabaret, where decadence was indeed divine and Lulus were its high priestesses. qCarlos Sensualchicksonline Tzh Javascript:ya Clickout('687474703a2f2f73686f702e61766f6e2e63612f61766f6e73686f705f656e2f64656661756c742e6173703f6465706172746d656e743d73686f70266c6576656c315f69643d31') Sensual Chicks Online Erotic Filmc v Lesbian Sensual Chicks Online Hardcore bCarlos Sensualchicksonline Tzh Javascript:ya Clickout('687474703a2f2f73686f702e61766f6e2e63612f61766f6e73686f705f656e2f64656661756c742e6173703f6465706172746d656e743d73686f70266c6576656c315f69643d31') Sensual Chicks Online Erotic Filme Lesbian Porno o Sensual Chicks Online Sensual Chicks Online |