Louise Brooks

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representative of the Roaring 20’s are doomed. The motion picture camera renders her dreamlike; her spirit injects dark blood and ivory flesh into and onto the shadowy image. Onscreen, she is, she lives a merciless, innocent creature, frankly carnal yet whimsically childlike. She is the conscience of a murderer and the expressive generosity of a saint.
Brooks was loved for her youth and beauty, hated for her boat-rocking tantrums, envied for her success, and pitied for her defeat and despair. She was a rebel and an outsider. She did not make much of her life afterward, but did escape with her sanity and her pride. She never learned how to make the movies for her, never compromised in ways that might have allowed her self-expression. Hollywood and never hit it off. The camera and Brooks on the other hand, hit it off right away. Brooks had a “face that the camera loved.” She also had something else. That indefinable quality in which a soul is somehow made flesh on the ...

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and found work dancing in the chorus of George White’s Scandals, a Broadway comedy with Leon Errol called Louie the 14th, and finally as a showgirl in the 1925 edition of the Ziegfeld Follies. Here she was the bane of her directors and often her co-stars as well due to her cavalier approach to the business.
When the Follies went on tour, Brooks stayed in New York. Already she had made a brief appearance in The Street of Forgotten Men, a film shot at Paramount’s Astoria Studio on Long Island. She was in many other films later after that one, including; Love ‘em and Leave ‘em, It’s the Old Army Game, and Rolled Stockings.
Also the comic strip, “Dixie Dugan” by John H. Striebel made ...

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