"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.

Silent Film: Pandora's Box(1929).

Pandora's Box (1929). German silent melodrama film based loosely on Frank Wedekind's plays Erdgeist Earth Spirit (1895) and Die Büchse der Pandora (1904). Directed by Austrian filmmaker Georg Wilhelm Pabst. Cast: Louise Brooks, Fritz Kortner, and Francis Lederer. Story of a young woman's uninhibited nature bring ruin to herself and those around her.

Pabst searched for months for an actress to play Lulu. When seeing Brooks as a circus performer in the Howard Hawks' film, A Girl in Every Port(1928), director G.W. Pabst tried to get her on loan from Paramount Pictures.  Pabst's second choice was Marlene Dietrich.

Louise Brooks (November 14, 1906 – August 8, 1985), was a dancer, model, showgirl and silent film actress. Brooks is best known for her films: Pandora's Box (1929), Diary of a Lost Girl (1929), and Prix de Beauté (Miss Europe) (1930). She starred in 17 silent films.

Brooks made her screen debut in the silent film, The Street of Forgotten Men, in an uncredited role in 1925. Soon, after that she was playing the female lead in a number of silent light comedies and flapper films.

She was noticed for her vamp role in the Howard Hawks directed silent "buddy film", A Girl in Every Port (1928).

It has been said that her best American role was in one of the early sound film dramas, Beggars of Life (1928), as a country girl on the run with Richard Arlen and Wallace Beery playing hoboes she meets while riding the rails. Much of this film was shot on location, and the boom microphone was invented for this film by the director, William Wellman.

No longer happy in Hollywood she moved to Germany,  where she starred in the film, Pandora's Box(1929). Brooks then starred in the controversial drama, Diary of a Lost Girl (1929), based on the book by Margarete Böhme and also directed by Pabst, and Prix de Beauté (1930), the latter having a famous surprise ending.

When she returned to Hollywood in 1931, she was cast in : God's Gift to Women (1931) and It Pays to Advertise (1931).  For the rest of her movie career, she performed in bit parts and roles in B pictures and short films.

Brooks retired from the screen after performing in the film, a John Wayne western, Overland Stage Raiders (1938) in which she played the romantic lead. She then briefly returned to Wichita, where she was raised. "But that turned out to be another kind of hell," she said. "The citizens of Wichita either resented me having been a success or despised me for being a failure.  After an unsuccessful attempt at operating a dance studio, she returned East and worked as a radio actor, gossip columnist, salesgirl in a Saks Fifth Avenue store in New York City and she also worked as a courtesan.

Brooks is considered one of the first naturalistic actors in film, her acting being subtle compared to many other silent performers. The close-up was just coming into vogue and her beautiful face was perfect for this new technique.

Louise Brooks, film image was an inspiration for Adolfo Bioy Casares when he wrote his science fiction novel, The Invention of Morel (1940).

Brooks inspired two separate comics:  Dixie Dugan newspaper strip by John H. Striebel that started in the late 1920s and ran until 1966, which came from a novel and later stage musical, "Show Girl", that writer J.P. McEvoy had loosely based on Louise's days as a Follies girl on Broadway and the comic books of Valentina, by the late Guido Crepax, which began publication in 1965 and continued for many years. Crepax became a friend and regular correspondent with Louise late in her life. Hugo Pratt, another comics artist, also used her as inspiration for characters, and even named them after her.

In an interview with James Lipton on, Inside the Actors Studio, Liza Minnelli shared how she prepared for performing her roll as Sally Bowles in the film Cabaret: "I went to my father, and asked him, what can you tell me about thirties glamour? Should I be emulating Marlene Dietrich or something? And he said no, I should study everything I can about Louise Brooks."

The Locked Door (1929).

The Locked Door(1929). Drama film featuring Barbara Stanwyck in her second film appearance, first starring role, and first talking picture. It was based on the play The Sign on the Door by Channing Pollock. Other cast members: Rod La Rocque, William "Stage" Boyd, and Betty Bronson.

Frank Devereaux, takes Ann Carter, his father's secretary, to a floating party and locks her in a private dining room. The club is raided, and their picture is taken by a news photographer. Anne leaves her job and gets another with Lawrence Reagan, whom she marries and lives happily until Devereaux begins to visit her sister in law, Helen. Reagan is informed by Dixon that Devereaux ruined his home and during an argument between Reagan and Devereaux, the latter is accidentally shot. Ann, who is found locked in the room with the body, confesses to the crime then Reagan admits his guilt. Will Devereaux, reveal the actual circumstance?

BARBARA STANWYCK was never too fond of her first talkie and it's easy to see why. But, it is fun to see Barbara in one of her first performances.

Betty Bronson (November 17, 1906 – October 19, 1971), began her film career at age of sixteen with a small part in the film, Anna Ascends. At seventeen, she had an interview with J. M. Barrie, author of, Peter Pan. This film role had been sought by both Gloria Swanson and Mary Pickford, but Bronson won the role. She starred with Mary Brian (Wendy Darling) and Esther Ralston (Mrs Darling) the three of them became very close friends for the rest of their lives. She had a major role in the 1925 silent film adaptation of, Ben-Hur. In 1926, she starred in another Barrie story, A Kiss for Cinderella. Her first sound film was in, The Singing Fool (1928) and she also starred in the follow-up film, Sonny Boy (1929). She was the leading lady opposite Jack Benny in the romantic drama, The Medicine Man (1930). Bronson continued film roles until 1933 when she married Ludwig Lauerhass. She did not appear in films again until, Yodelin' Kid from Pine Ridge (1937), starring Gene Autry. She resumed acting in the 1960s appearing in episode television roles and feature films. Her last film role was an uncredited part in the television biopic, Evel Knievel (1971).

Hitchcock: Blackmail (1929)

Blackmail (1929), Directed by Alfred Hitchcock. Cast: Anny Ondra, John Longden and Cyril Ritchard, and featuring Donald Calthrop, Sara Allgood and Charles Paton. The film is based on the play Blackmail by Charles Bennett. Having began production as a silent film, the studio, British International Pictures, decided to convert it to sound during shooting. As an early 'talkie', the film is frequently cited by film historians as a landmark film, and is often considered to be the first British sound feature film.

The story begins, as Scotland Yard Detective Frank Webber and his girlfriend Alice White decide to dine at a local tea house. They have an argument and Alice leaves with Mr. Crewe, an artist whom she has earlier agreed to meet. At his apartment, Crewe sings and plays "Miss Up-to-Date" on the piano. He convinces Alice to try on a dress then makes a move on her as she is changing. Alice grabs a knife killing him.

Alice leaves after attempting to conceal any evidence of her presence in the apartment. Unfortunately, she has left her gloves behind. The next day Frank is assigned to the case and finds one of the gloves. He realizes the glove belongs to Alice and visits Alice at her father's shop. Unsavory character Tracey, saw Alice at the artist's apartment earlier, and tries to blackmail the couple.

Things become complicated when Tracey becomes the chief suspect after the artist's landlady identifies him as being at the scene of the crime. Tracey runs for his life with the police hot on his trail. Will he be successful at getting away?


The camera angles, scenery, all combined to make what we would expect in a Hitchcock movie.

Alfred Hitchcock's cameo, shows him being bothered by a small boy as he reads a book on the London Underground. This is probably the lengthiest cameo appearance Hitchcock performed in his film career.

Fun Facts:

In one key shot, the villain Cyril Ritchard is photographed with a thick shadow (caused by the arm of an overhead chandelier) across his upper lip. Hitchcock wanted the image to evoke the old-fashioned, heavily mustached villain found in many silent films. He later called this touch "my farewell to silent pictures".

Generally acknowledged as the first British talkie, and definitely the first sound-on-film British talkie. The Clue of the New Pin (1929), was released in March 1929 in the British Phototone system.

With The Jazz Singer (1927) doing spectacular business, the producers decided that the last reel of this predominantly silent film should have sound. Alfred Hitchcock thought that this was an absurd idea and so he secretly filmed the whole thing with sound.

The light levels in the British Museum were insufficient to allow Hitchcock to film the final chase scene in the museum. Without informing the producer, Alfred Hitchcock used the Schufftan process (developed by German cinematographer Eugen Schüfftan). This involved taking still photos of the interior of the museum, then reflecting the photos in a mirror with certain parts of the silvering of the mirror scraped away to allow people (entering a door, for example) to be filmed through the mirror so that they appeared to be present in the museum (in later years, American development of traveling matte and other process photography methods largely replaced the Shufftan process).

Alfred Hitchcock filmed the silent version with Sam Livesey as the Chief Inspector, but when filming the sound version replaced Livesey with Harvey Braban.

Michael Powell claims to have suggested the use of The British Museum as the location for the final pursuit, thus beginning Alfred Hitchcock's use of famous landmarks in his "chase" films.

As Tracy (Donald Calthrop) sits eating some food which he has just gained in a first minor act of blackmail, he sits humming the tune "The Best Things in Life are Free".

Anny Ondra (May 15 1903 – February 28 1987), acted in Czech, Austrian and German comedies in the 1920s, and in some British dramas, best known for her films: The Manxman and Blackmail (both in 1929). When Blackmail was remade with sound, Ondra's thick accent was considered unacceptable, so her dialogue was recorded by actress Joan Barry. Ondra made some forty more films in the sound era before retiring in the late-1930s.

She had a production company with her first husband, director Karel Lamac. Lamac had directed her in several silent films and also acted with her in films. They worked together, even after their divorce. On July 6, 1933, she married the boxer Max Schmeling, with whom she performed in the film, Knock-out (1935).

She was portrayed by Britt Ekland in the television movie, Ring of Passion (1978), where the character was named "Amy Ondra Schmeling." She was also portrayed by Peta Wilson in another television movie Joe and Max (2002).