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Forever Louise Brooks

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Louise and Old Hollywood: Sweet spot 1925-1939


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Olga Baclanova and Paul Lukas in The Wolf of Wall Street (1929). Photo by Eugene Robert Richee.

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Louise in a soft-focus portrait by the G. L. Manuel Frères studio in Paris, 1929.

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Portuguese actress Beatriz Costa, 1929.

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Loretta Young by Edwin Bower Hesser, 1928.

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We get you two confused sometimes. 😄

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As brothel party attendees vie for her attention, Louise as Thymian spots her father across the room in a climactic scene from Diary of a Lost Girl (1929).

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Lili Damita by Ernest Bachrach for Friends and Lovers (1931). #botd

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Nancy Carroll by Eugene Robert Richee for The Devil’s Holiday (1930).

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I spent way too much time trying to figure that out. It certainly looks like her in profile — perhaps a pic from Now We’re In the Air (1927) — but the photo remains a mystery to me.

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When Biden goes down to defeat in November I’m anxiously awaiting the finger-pointing at those of us who expressed doubts in early July about his ability to aggressively take down Trump — the worst, weakest and most disliked major party candidate in a century.

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“The Biden team demands your loyalty” feels kinda MAGA to me.

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Carmel Myers by Clarence Sinclair Bull, mid-1920’s.

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The full image:

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Louise from a fashion portrait by Eugene Robert Richee, 1927.

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L'Oreal hair dye ad, 1927. Artwork by Claude Lepape.

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Susan Hayward, 1939.

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Louise and Georges Charlia in a publicity still for Prix de Beauté (1930).

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Myrna Loy in a publicity portrait for Renegades (1930)

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Another take by Schafer for Columbia Pictures’ Roaming Lady (1936). Fay models the same outfit minus the wrapped slit skirt but fortunately the same shoe/sock combo. 👌

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Fay Wray by A.L. “Whitey” Schafer, 1936.

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Another take of Gene from a still for The Shanghai Gesture (1941).

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Gene Tierney takes a seat at the bar in The Shanghai Gesture (1941).

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Lita Chevret for Fox Movietone Follies (1929).

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Louise by G.Y. Nishiyama in one of her earliest Paramount publicity photos taken around the time of her screen debut in The Street of Forgotten Men (1925).

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Model turned actress Ruth Ford in a portrait by George Platt Lynes, 1936. Her friend Orson Welles would be instrumental in helping launch her brief Hollywood film career in 1941. #botd

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Just guessing here but that looks like a book of wallpaper samples. 🤔

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The Richee image of Louise reworked as an illustration for the cover of Cinearte magazine, 1927:

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Louise in fur and cloche hat. Photo by Eugene Robert Richee, 1927.

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British actress Francis Cuyler by E.O. Hoppé, 1925.

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Segue into Costello’s “Clowntime Is Over.”

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Another take of Clara from The Fleet’s in (1928). Perhaps the “before” pic.

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Clara Bow for The Fleet’s In (1928). Also, mood.

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Here’s a classic shot of Theda by Jack Freulich, 1915:

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Another take of Irene by Bull as featured in Motion Picture, September 1931. RKO loaned her to MGM for The Great Lover (1931).

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Irene Dunne by Clarence Sinclair Bull, 1931.

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Choose your Saturday mood. Myrna Loy, Conrad Nagel, William Russell, and George E. Stone in State Street Sadie (1928).

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The full image. The following year Mary would cut her long locks and begin preparation for her first sound film: Coquette (1929). Trivia: She married “Buddy” in 1937, a year after her divorce from Douglas Fairbanks.

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Mary Pickford gets a lift from Charles “Buddy” Rogers in a still from her last silent film My Best Girl (1927).

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Louise in costume for Now We’re in the Air (1927). Photo by Eugene Robert Richee.

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Janet and her “white linen sunsuit with 14k embossed polka dots” in stills with John Wayne for Jet Pilot (1957). Hughes was hoping for an aerial epic but ended up with a dud that the N.Y. Times critic called “silly and sorry.”

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Two more of Janet by Kahle for Jet Pilot (1957), a troubled Howard Hughes production that began shooting in 1949 but wasn’t completed until 1953. Further extensive re-editing and studio reshuffling kept it on the shelf until 1957.

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