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Pandora's Box

Pandora\'s Box  Sleeve

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Film Description

The all time silent classic based on two plays by Frank Wedekind. With a legendary performance by the luminous, vivacious Louise Brooks as Lulu, the most fatale of all femmes, a heightened naturalistic style and dark, dark, noirish leanings, the remorseless journey of the anti-heroine to her date with destiny, in the form of a man who may be Jack the Ripper, exudes a hypnotic fascination.

 

Film Information

Director Georg Wilhelm Pabst
Starring Louise Brooks

 

Genre Silent Film

 

Country Germany Language Silent   Year 1928

 

DVD Extras

Region 0. Original ratio (4:3). Restored and uncut. Includes 'Looking For Lulu' documentary which features rare footage and photos, interviews with friends & colleagues and a 1976 interview with Brookes herself. Optional English or German dialogue cards. Main feature includes musical acompaniment.

 

Technical Details

Certificate PG   Length 131 mins   Label SECND
Cat No 2NDVD3036   Format DVD   Black & White
      
Subtitles Dialogue Cards - English & German.

 

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1 Still

 

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Reviews & Articles

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Review by John Davies on 15th April 2002

Based on two Frank Wedekind plays, Erdgeist and Die Buchse der Pandora, Pandora's Box is widely considered the finest film of its director, G.W.Pabst- an extremely significant figure of Silent and early Thirties cinema, whose reputation, along with that of films such as The Threepenny Opera (voted among the all-time top ten by a major international poll in 1952) has, however, suffered something of a decline.
On its German debut, the film's portrait of a shameless call-girl surrounded by exploitative characters, its open critique of Bourgeois sexual hypocrisy, its inclusion of the source's lesbianism (watch for an eloquently erotic dance scene that reminds of Bertolucci's The Conformist) and adherence to Wedekind's Lulu as a "personification of primitive sexuality who inspires evil unawares" met with anger and derision.
Pandora's Box is distinguished by expert compositions and expressionist lighting, along with the director's typically fluid editing; subtly cutting on movement to promote a sense of inescapable momentum towards its ultimate tragic destiny. Certainly, on seeing Pandora's Box again, I was surprised by the speed with which Lulu's trial for murder of her rich new husband is reached. Though it's charged with a sense of restlessness, and occasionally (in the melee of the backstage theatre scene, for instance) of hectic motion, in general the camera's movements are quietly restrained, to enhance the feeling of claustrophobic space- even the late outdoor London scenes are hemmed in by fog- while taking time to dwell on Lulu herself.
And then, of course, there's Louise Brooks. The word "legendary" is all too often inappropriately applied. Not here. On last night's T.V I chanced upon a bevy of Hollywood actresses, on display for the Oscars, intent on emulating this icon of over 70 years' standing. Vain delusion! Brooks' performance in Pandora's Box will continue to captivate when today's stars are long forgotten.
Spotted by Pabst in a minor role in Hawks' A Girl in Every Port, she was given the part ahead of homegrown talent, most notably a scathing (pre-"Blue Angel") Marlene Dietrich- to the dismay of the German public and a doubting cast. Her Lulu is elusively complex and endlessly fascinating; tempestuous, tender, frivolous, flighty, spontaneous, spirited, sweet, …Her fateful attraction for creeping creatures (Schigolch, for instance) and smitten benefactors (Alwa and the countess) alike is seemingly inadvertent; far from a vampish femme fatale, she is the film's victim- more butterfly than spider. Her ravishing beauty, framed by trademark bob, is exquisitely lit. Incidentally, Asta Nielsen had previously sported a bob in the part, prompting Pabst to try out Brooks in curls in one sequence. A closing image, of Lulu juxtaposed with Jack the Ripper (here more a lost soul than a vicious psychopath) is hauntingly enigmatic and surprising.
The director and actress teamed again effectively the next year in the fine Diary of a Lost Girl, but it is her outrageous vivacity as Lulu which will ensure Brooks' screen immortality.

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Review by anonymous on

"A masterpiece - miraculous" Sight and Sound. With a heightened naturalistic style and dark, dark, noirish leanings, the remorseless and fascinating journey of the anti-heroine to her date with destiny, in the form of a man who may be Jack the Ripper, exudes an hypnotic fascination.

View more reviews by

 

 

Review by anonymous on

All time silent classic based on two plays by Frank Wedekind. Legendary performance by the almost luminous Brooks as Lulu, the most fatale of all femmes. Astonishing and wonderful.

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Review by anonymous on

Beyond the iconic black bob and porcelain skin, Louise Brooks radiated sexuality with an unparalleled subtlety of expression and gesture. In this film she gives her most captivating and erotically charged performance and displays a smouldering screen presence that has never been equalled.

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In the golden era of European art cinema, two actresses came to embody the work of the directors that they were associated with on both a personal and professional level to an extent that it is hard to separate one from the other. They are Monica Vitti and Anna Karin...  View article in full

 

 

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Surrealism is now thought of mainly as an art movement, one of the many styles that succeeded each other with bewildering rapidity in the early 20th century. There was Cubism, and Fauvism, and Suprematism, and Futurism, and Dada, and near the end there was Surrealism...  View article in full

 

 

Article - "What You Find: Hidden Gems on DVD" by Graeme Hobbs
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DVD Extras aren't all about dubious 'featurettes' and photo galleries and theatrical trailers. Now and again the format has given the opportunity to release some exceptional features - often early short films by the director or really worthwhile documentaries. Here a...  View article in full

 

 

Article - "The Miracle of Louise Brooks" by R. Dixon Smith
Friday 20th April 2007

She was less overtly sensual than her principal screen rivals, Greta Garbo and Marlene Dietrich. The name Garbo suggested allure, mystery, beauty, and charisma; Dietrich’s sexual magnetism and callous, insolent eroticism made her the screen’s supreme sex goddess. Wha...  View article in full

 

 

Article - "Film Preservation: The Nitrate Era " by R. Dixon Smith
Monday 7th April 2008

The year is 1908. The steady torrent of coins increases daily in nickelodeon parlors throughout the world, and every two months the entire population of the globe is exceeded by the number of people patronizing the world’s movie theatres.

But within several...  View article in full

 

 

 

 

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Collections & Lists

This film is part of the following Film Collections

 

Films About Sexuality

Including: 9 Songs, A Ma Soeur, A Short Film About Love, Anatomy Of Hell, Baise-Moi, Black Narcissus, Boogie Nights, Closer, Crash, Empire Of Passion.

 

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