Looks even better than these pictures!
AUTOGRAPHED Louise Brooks biography of silent star and sex goddess SIGNED by Barry Paris w/Pix HB1stDJ Hardback First Edition in Dust Jacket wrapper! With photographs!
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Great reference book on early classic film with years of unique research between these covers.
DESCRIPTION:
Louise Brooks [Hardcover] Barry Paris (Author)
• Hardcover: 609 pages • Publisher: Knopf; 1st edition (stated), 1989 • Language: English • ISBN-10: 0394559231 • ISBN-13: 978-0394559230 • Product Dimensions: 9.3 x 6.6 x 1.7 inches • Shipping Weight: 2 pounds, 15 ounces
Louise Brooks, silent star and sex goddess is remembered best for her reputation and her role in G.W. Pabst's film "Pandora's Box" in which she played Lulu, a role which apparently suited her well. The author uses her letters and diaries in an attempt to separate the myth from the reality. Film historian Paris covers actress and author Brooks’ life (1907-1985) from her days as a precocious child in Kansas through her sexually promiscuous, hedonistic adult years, here detailed exhaustively. Only 15 when she arrived in New York to dance with an established company, Brooks fouled up this opportunity, like many others, through sheer carelessness. A promising star in early Hollywood films, she scorned later roles and decamped for Europe. Eminent German director G. W. Pabst then spotted the American "vamp" and chose her to play Lulu in the film that made her a screen icon, Pandora's Box. It was downhill all the way after that as Brooks failed at everything, finally growing old, poor and alcoholic in New York. But she was discovered and befriended by one John Benz, whose influence brought her again to public attention and secured the home where she lived out her days, cared for and reasonably contented. The biography is a gossip lover's feast, naming names and telling tales, yet also makes an addition to film history. Photos!
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CONDITION:
The book is in Near EXCELLENT condition (minor bumping and light hand dirt) and the dust jacket is in Near EXCELLENT condition with minor scuffing, patina and edge bumping.
SHIPPING:
Well packed with plenty of sturdy reinforcement, Media rate approximately $4.00 and takes 1-2 weeks or in a flat rate Priority envelope 2-4 days $10.00 or international shipping based on the weight would be much more expensive.
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BACKGROUND: “ Despite a brief career (24 films, only a handful of any merit), Louise Brooks led a life that is the stuff of Hollywood legend: star dancer in her teens with the Denishawn troupe, a studio contract and fame as a flapper with her "black" hairstyle, exile to Europe to make her best films (including Pandora's Box ), return to an indifferent Hollywood, "retirement" from movies at 32, years of struggling in New York at meager jobs, and finally, nearly 30 years of seclusion in Rochester, N.Y. There she was "discovered" by a growing legion of fans and found her calling as a writer, publishing Lulu in Hollywood (her character in Pandora's Box ) in 1982 (Knopf). This is the first book-length portrait of Brooks, and Paris takes full advantage of cooperation from numerous sources as well as access to Brooks's papers. Fascinating, titillating stuff.
The daughter of a Kansas attorney, Louise Brooks was 15 when she accompanied her mother to New York. A talented if not inspired dancer, Brooks performed with the Denishawn dance troupe, then worked in such annual revues as George White's Scandals and The Ziegfeld Follies. Signed to a Paramount film contract in 1925, she was largely confined to nondescript leading lady roles in such films as W.C. Fields' It's the Old Army Game (1926), directed by her then-husband Eddie Sutherland. Better roles came her way in Howard Hawks' A Girl in Every Port (1927) and William Wellman's Beggars of Life (1928). With her darkly exotic good looks and distinctively bobbed-and-banged haircut, Brooks gained popularity with filmgoers, but neither critics nor studio executives were particularly impressed with her acting ability. All this changed when she was invited to work in Berlin by director G.W. Pabst. Her haunting, provocative performances in Pabst's Pandora's Box (1928) and Diary of a Lost Girl (1929) not only established her as a screen personality of the first rank, but also fostered a Louise Brooks "cult" which continued to flourish. Alas, when the temperamental Brooks refused to return to Hollywood to film sound retakes for her silent picture The Canary Murder Case (1929), she was effectively blacklisted in Hollywood. Despite another brilliant performance in René Clair's Prix de Beaute (1930), Brooks found herself consigned to thankless supporting roles when she returned to America. Soon she was scrounging for work in two-reel comedies and bit roles; her last screen appearance was a demeaning leading lady assignment in the 1938 Three Mesquiteers Western, Overland Stage Raiders, which she accepted because she needed 300 dollars in a hurry. She spent the next two decades in virtual obscurity, occasionally obtaining radio work, but generally limited to clerical and salesgirl jobs. She was rescued in the mid-'50s by a millionaire media executive with whom she'd allegedly had an affair, and who provided her with a modest monthly annuity for the rest of her life. She moved to Rochester where she formed a lasting friendship with film buff/curator James Card of the George Eastman House. It was Card who drew the reclusive Brooks out of her shell with a series of well-received Louise Brooks retrospectives. In her last two decades, she began a whole new career as a writer, producing well-researched and well-balanced articles on movie history. Still, she remained a mercurial personality to the end, alternately attracting and repelling her admirers with her unpredictable behavior. In 1982, Louise Brooks collaborated with Hollis Alpert on her witty, extremely candid autobiography, Lulu in Hollywood.