Miss Europa

With lots of sunshine, gauzy light and shadow filtering through windows and into rooms, tracking shots moving through crowds with hand-held camera, quick-paced editing and extreme close-ups here and there, the photography is the thing in this interesting, artistically done film.

The plot of this film starts out as a bit of fluff about a beauty contest. The film begins on a warm Sunday at the local swimming pool, where we meet the lovely Lucienne aka Lulu (played by Louise Brooks) - a bit of a show-off in front of the gawking men by poolside, she soon decides to enter herself to represent France in the Miss Europe beauty contest, much to the chagrin of her very jealous, stick-in-the-mud fiancé (a pretty annoying fellow, really). Strutting down the runway the ten contestants display themselves in swimsuits, while the winner is chosen as the contestant who receives the longest applause (I was wondering, couldn't the girls just walk slower to prolong their length of time - and thus applause - on the catwalk?!). Lulu is soon being chased by a Prince and a Maharaja, but her hot-headed beau doesn't like the attentions paid to her by other men or her adoring public, for that matter (I guess he just wants her in his house, cooking his meals, and staying out of sight, eh?!).

Louise Brooks is beautiful and charming, her presence helps enhance this film, but it's really the way it is photographed that held my interest the most. A bit distracting is the odd dubbed sound, which is a bit off. The print on this version looked very clear and full of nice contrast though. Watching this I just tried to overlook the sound problems and watch the film visually, and I found the movie to be excellent, well worth seeing.

A wonderful surprise! I've always heard that Louise Brooks' follow-up to her two star-making hits with G.W. Pabst was a pleasant but inconsequential swan song. I thought it was very good, with an absolutely brilliant performance by Brooks. Co-written by Pabst and Rene Clair, this is basically a silent movie with overdubbed sound. Thus, the director is able to avoid the stodginess that comes with early sound filmmaking. He uses a very intimate, fluid style with the camera drifting through crowds to discover the beautiful Ms. Brooks' face. The one big problem the film has is that Brooks' love interest (Georges Charlia) is so totally unworthy of Brooks from the start that you can never come close to sympathizing with him. But that's not that important, really. Brooks plays Charlia's fiancée. He forbids her from entering the Miss France contest, but she's already done so. When she wins the opportunity to compete for Miss Europe, she chooses to disobey him. When she wins the competition, the fame and male attention drives her back to Charlia. But poor, married life soon seems much worse to her. The film is extremely worthwhile just for the expressions of Brooks' face alone. Though she has words, as dubbed in by a French actress, she doesn't need them. Her smiles seem created by a filmmaking Leonardo, and her pains are ours. Lulu could never have survived in the talkies (and I've seen the proof, a short film she made with Roscoe Arbuckle shortly after this one), and perhaps the loss of Brooks is the greatest of the talking picture era.

Cult icon Louise Brooks was never better than she is in this early French talkie, which turned out to be her last staring role.

While Brooks' two German films, "Pandora's Box" and "Diary of a Lost Girl" are far better known in the US, "Prix" is clearly just as good a film, in my view much better than the butchered "Diary."

"Prix" tells a simple story of a working class French girl who dreams of a better life and sets out to get it by entering a beauty pageant. Rising all the way to the position of "Miss Europe," she then gives it all up for the working class man she loves. But she finds that life as a housewife in a dreary walk up flat is killing her soul, as is her jealous husband, and eventually she walks out when she gets a chance at a film contract. But her husband won't let her go and the film builds to a tragic ending that is still considered one of the best climatic scenes in film history.

This film features strong direction, extremely exciting location photography by famed cinematographer (and later director) Rudolph Mate and an intelligent,Spartan script by Rene Clair.

But the wonder of the film is Brooks herself. Although her voice is dubbed by a French actress (Brooks didn't speak French) the film was initially planned as a silent and in large chunks of it, her character doesn't speak, anyway. But Brooks' fortune was her face and what she could do with it and there are few in film history who could do more. While there are some echos of silent film technique in her work, she was so far ahead of her time that most of her performance seems as fresh today as it did in 1929. Whether she is the unhappy girl being dragged by her boyfriend through a working class mob at a carnaval, or the depressed housewife staring into a canary's cage and feeling just as trapped, Brooks is a revelation.

But it is when she is happy in this film that Brooks simply leaps off the screen at you. In most of the still photos she shot over the years, Brooks doesn't smile, apparently because she'd promised herself not to ever wear one of those pasted on grins found on showgirls on stage. But when called upon in a film to express happiness, no one ever exceeded Brooks, who may be the most magnetic actress in film history.

While "Pandora's Box" will always be her signature film, "Prix de Beaute" ranks a close second in my mind as the best film work of her career.

I just saw MoMA's restored print of the silent version of Prix de Beaute. FAR better than the sound version, which is badly post-synched, shorter, and poorly paced. Bravo to the crew of restorationists who've given us back this fine film! (Trivia: The contract that Lucienne receives from the movie studio says on its letterhead, "Films, silent and talking" - an indication of how some studios were still hedging their bets in 1929-30.)

Brooks' performance is very much of a piece with her work in the Pabst films, but takes it in some interesting new directions - whereas Pandora's Box and Diary of a Lost Girl are about the demimonde, Prix de Beaute is about a humble young woman's introduction to the bright, shiny new world of the media, modern technology, and the fame machine that they created.

The collaboration of Pabst and Rene Clair on the screenplay is every bit as intriguing as it sounds. The first half, centering on Lucienne and her friends at the newspaper (she's a typist, her beau a linotype operator), is the Clair part - showing a fascination with recording equipment, movies, and the way the media manufactures icons. There's a sense optimism and a tremendous vigor to the life of working Paris portrayed here.

The second half is the Pabst part, where everything turns dark as Lucienne's fairy tale as a beauty queen ends and she faces life as a working class housewife. She makes her escape only to have that life catch up with her. The ending is unforgettable, forcing the viewer to consider the ways that illusion and reality become confused in modern life, sometimes tragically. Clear through, the film shows a fine sense of class distinctions - how modern life can break them down and the traps they still set. Aside from Pabst's and Clair's own films, Prix de Beaute calls to mind Dreiser's novels, particularly An American Dream and Sister Carrie. Sunset Boulevard is anticipated as well. Makes one regret all the more American studios' indifference to Brooks - there was so much she could have done with any number of classic American roles.

Brooks' work here is easily as good as her performances in the Pabst films, and Mate's and Nee's cinematography renders her stunning to look at. What a supremely expressive face! Too bad that this would be her last great film - not a full-blown classic, but a real gem.

BEAUTY PRIZE (Augusto Genina - France 1930).

Louise Brooks' last starring role in a feature, and her only film made in France. It's the story of Lucienne, a high-spirited Parisian typist who leads a mundane life with her fiancé, André, and a number of friends. While André indeed loves Lucienne, he has conventional expectations for their future together. When the Miss Europa beauty contest comes to town, he warns her to "not even dream" of entering it. Lucienne ignores his advice, and from there on, she struggles for independence and happiness, but André is overcome with jealous rage...

I just watched "Prix de Beauté" in the sound version on the Kino Video DVD-release. The film was shot as a silent and Louise Brooks voice was badly dubbed by a French actress. The post-doctoring of this silent film into a talkie was badly done in the first place, and, on top of it, the transfer to the DVD is pretty shabby as well. Sometimes too light, then too dark, too fast, too slow. It's a mess. A mediocre film that might have worked as a silent but is no comparison to earlier films Louise Brooks made with G. W Pabst, "Pandora's Box" and "Diary of a lost Girl." I watched this for the obvious reason of Louise Brook's last starring role, but it's only worth it for Brooks-aficionados or completists. Watch the silent version or turn of the sound, and make the best of Louise Brooks' intoxicating presence. The five stars are hers.

Camera Obscura --- 5/10