"A Pavement with Men and Women" - A Pavement with Men and Women

She made her film debut in a minor role in Herbert Brenon's A Beggar's Story (1925), and after playing a series of stereotypical "flapper" roles, popular among modern girls of the time, known as "flappers," with her signature "bob hair" style ("Department Store" (1926), "Ball Gown" (1927), etc.), she gained recognition as a talented actress in Howard Hawks's Women in the Harbor (1928) and William A. Wellman's The Beggar of Life (1928). However, her most notable works were the German films Pandora's Box and Diary of a Fallen Woman (both 1929), in which she was invited to appear by director GW Papst. In particular, her role as the prostitute Loulou in Pandora's Box (based on the German playwright Frank Wedekind's cycles Earth Spirits and Pandora's Box) attracted worldwide attention, and Loulou subsequently became a legendary figure thanks to this film rather than Wedekind's original work. It is said that later, Jean-Luc Godard had the prostitute Nana, played by Anna Karina in his film La Paz (1962), use Loulou's hairstyle and makeup. Brooks herself returned to Hollywood after appearing in the French film Miss Europe, based on a story by Papst and written by René Clair (Clair was to direct the film, but disagreements with the producer meant that the film was directed by the Italian Augusto Genina), but she was not blessed with many films and spent her time as a nightclub dancer and salesgirl. From the late 1940s, she lived in seclusion away from the public eye, until the mid-1950s, when her older films, especially Pandora's Box, were shown again in Europe and America, sparking a Loulu fever. In 1955, Henri Langlois of the Cinémathèque Française displayed a photograph of Brooks as "the immortal actress" in an exhibition celebrating the 60th anniversary of the birth of cinema, and he also invited her to an event marking 50 years since the making of The Assassination of the Duke of Guise (1908), starring Sarah Bernhardt.

*Some of the terminology that refers to "The Pavement Where Men and Women Live" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…ハーバート･ブレノン監督《或る乞食の話》(1925)の端役で映画デビュー，〈ボブ･ヘア〉スタイルを売りものに〈フラッパー〉と呼ばれた当時のモダン･ガールを型どおりに演じつづけたのち(《百貨店》1926，《夜会服》1927，等々)，ハワード･ホークス監督《港々に女あり》(1928)，ウィリアム･A.ウェルマン監督《人生の乞食》(1928)で才能ある女優として認められる。しかし真価を示した代表作は，G.W.パプスト監督に招かれて出演したドイツ映画《パンドラの箱》《淪落の女の日記》(ともに1929)であり，とくに《パンドラの箱》(原作はドイツの劇作家フランク･ウェーデキントの連作戯曲《地霊》《パンドラの箱》)で演じた娼婦ルルによって世界的に注目を浴び，その後もルルはウェーデキントの原作よりもむしろこの映画によって伝説的な存在となり，のちにジャン･リュック･ゴダールは，彼の映画《男と女のいる舗道》(1962)でアンナ･カリーナが演じた娼婦ナナに，ルルのヘア･スタイルとメーキャップをさせたといわれる。ブルックス本人は，パプスト原案，ルネ･クレール脚本によるフランス映画《ミス･ヨーロッパ》(クレールが監督する予定だったがプロデューサーと折り合わず，イタリア人のアウグスト･ジェニナ監督作品になった)に出演したあとハリウッドに帰るが，作品に恵まれず，ナイトクラブのダンサーやセールスガールになるなど不遇の時代を送り，40年代後半から世間の目を避けて隠棲するうち，50年代半ばに《パンドラの箱》を中心にした旧作がヨーロッパとアメリカでリバイバル上映されたのを機に〈ルル･フィーバー〉が高まり，55年には〈シネマテーク･フランセーズ〉のアンリ･ラングロアが映画生誕60年記念展に〈不滅の女優〉としてブルックスの写真を飾り，またサラ･ベルナール主演の《ギーズ公の暗殺》(1908)がつくられてから50年後の記念の催しにも彼女を招待した。…

※「《男と女のいる舗道》」について言及している用語解説の一部を掲載しています。

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