Die Büchse der Pandora (1929)

User Rating:

8.0/10   

Director:

Georg Wilhelm Pabst

Writers:

Frank Wedekind (plays)
Ladislaus Vajda (scenario)
(more)

Release Date:

22 February 1930 (Japan)

Genre:

Crime | Drama | Romance

Plot:

The rise and inevitable fall of an amoral but naive young woman whose insouciant eroticism inspires lust and violence in those around her.

Plot Keywords:

Violence | Lust | Escape | Rose | Controversy

Awards:

1 nomination

Cast

Louise Brooks	...	Lulu
Fritz Kortner	...	Dr. Ludwig Schön
Francis Lederer	...	Alwa Schön (as Franz Lederer)
Carl Goetz	...	Schigolch
Krafft-Raschig	...	Rodrigo Quast
Alice Roberts	...	Gräfin Geschwitz - Countess Anna Geschwitz
Daisy D'Ora	...	Charlotte Marie Adelaide v. Zarnikow - braut Dr. Schöns - Dr. Schön's Bride (as Daisy d'Ora)
Gustav Diessl	...	Jack the Ripper (as Gustav Diesel)
Michael von Newlinsky	...	Marquis Casti-Piani (as Michael v. Newlinsky)
Sig Arno	...	Der inspizient - the instructor (as Siegfried Arno)

Directed by
Georg Wilhelm Pabst

Writing credits
Frank Wedekind		(plays "Erdgeist" and "Die Büchse der Pandora")
Ladislaus Vajda		(scenario)
Joseph Fleisler		titles (uncredited)
Georg Wilhelm Pabst		uncredited

Produced by
Heinz Landsmann	....	producer
Seymour Nebenzal	....	producer (uncredited)

Original Music by
Stuart Oderman		(uncredited)
William P. Perry		(uncredited)

Cinematography by
Günther Krampf

Film Editing by
Joseph Fleisler		(uncredited)

Art Direction by
Andrej Andrejew		(as Andrejew)
Gottlieb Hesch		(as Hesch)
Ernö Metzner		(uncredited)

Costume Design by
Gottlieb Hesch		(uncredited)

Production Management
Georg C. Horetsky	....	production manager (as Georg C. Horsetzky)

Second Unit Director or Assistant Director
Marc Sorkin	....	assistant director
Paul Falkenberg	....	assistant director (uncredited)

Art Department
Marcel Tuszkay	....	graphic designer

Production Companies

• Nero-Film AG

Distributors

• Süd-Film (1929) (Germany) (theatrical)
• Moviegraphs (1929) (USA) (theatrical)
• Public Broadcasting Service (PBS) (1977) (USA) (TV) (original airing)
• Yleisradio (YLE) (1984) (Finland) (TV) (1992)
• Embassy Home Entertainment (1986) (USA) (VHS)
• Divisa Home Video (2004) (Spain) (DVD)
• Criterion Collection, The (2006) (USA) (DVD)
• Cult & Classic (Brazil) (VHS)
• Filmmuseum München (????) (worldwide) (all media) (as Film Museum München)
• Grapevine Video (video)
• Janus Films (????) (USA) (all media)
• Sultan Video (VHS)
• Umbrella Entertainment (2002) (Australia) (DVD)
• Video Dimensions (VHS)

Also Known As:

Pandora's Box (UK) (USA)
Lulu
The Box of Pandora (International: English title)

Runtime:

Germany:133 min (restored version) | USA:109 min | Belgium:152 min (Copy with French titles at Brussels Musée du Cinéma) | 131 min (original version) (21.4 fps) | 110 min (VHS version)

Country:

Germany

Language:

German

Color:

Black and White

Aspect Ratio:

1.33 : 1

Sound Mix:

Silent

Certification:

Germany:(Banned) (1933-1945) | Portugal:17 (original release) | Portugal:(Banned) (1936-1945) | Portugal:M/12 (DVD rating) | Norway:(Banned) (1929) | UK:A (1929) | UK:PG (1993) | Australia:PG | USA:TV-PG (TV rating) | Argentina:13 | Finland:(Banned) (1929) | Sweden:(Banned)

Filming Locations:

Nero-Film Studio, Berlin, Germany

Company:

Nero-Film AG

Trivia:

Louise Brooks' highly influential "bob" hairdo is referred to as a Lulu to this day.

Goofs:

Revealing mistakes: The poster warning Londoners of Jack the Ripper is in German instead of English.

Quotes:

Lulu: MONEY! All they want is money!

Movie Connections:

Remake of Die Büchse der Pandora (1921)

Greatest Silent Film

Of all the silent dramas of the '20s, perhaps none is as compelling and inherently watchable as "Pandora's Box" of 1928. Amazingly, despite its age and completely different cinematic conventions, this G.W. Pabst picture continues to influence filmmakers worldwide. Made in Weimar Germany, it stars Louise Brooks, an American actress now considered the quintessential symbol of the flapper era. If not for her presence, the film would probably never have its incredible durability and cult status. She is the inspiration for Quentin Tarantino's Mia Wallace in both personality and sheer appearance. For the source of that chic haircut, look no further than Lulu, the proto-"femme fatale" played by Brooks. In a plot that could have come right out of a modern daytime talk show, she manages to destroy the lives of virtually everyone who loves her. Lulu (an aspiring actress), is simultaneously involved with Dr. Schoen (a prominent, high-society man) and his son, while being pursued by a lesbian admirer. To make matters worse, she is "supervised" by a rather disgusting, shady, pimp-like creature impersonating her father. And that's only the beginning. The girl's circumstances become even more bizarre as the action progresses. Obviously, given such a juicy storyline, the audience could well have been treated with a dose of laughable high camp. But Pabst, through brilliant cinematography (and, incidentally, silence), manages to retain dignity and generate powerful emotions as opposed to sarcasm and mild amusement. Precisely because the characters do not speak, we have an opportunity to witness their expressions and gestures. The camera spends much time on Brooks' face, showing the wide range of her emotions: from playfulness to rebellion to despair and back again. That face is one of the most versatile (not to mention the most beautiful) in the history of cinema. At the conclusion of the film's best scene-- as Dr. Schoen's fiancee catches him red handed in Lulu's dressing room-- her competitor slowly dismounts him with a momentary smirk full of hurt and disdain, yet somehow ballsy and triumphant. Such precious and sophisticated details make "Pandora's Box" a masterpiece. The title itself is mentioned in an inevitable courtroom scene midway through the story, by a prosecutor who crudely accuses the girl of being the root of all evil. This is where the film's sociological implications make it stand out from many of its contempories. Louise does not portray a conniving temptress. On the contrary, the people around her fall prey to their inhibitions, delusions and obsessions. Essentially, she is only an indirect cause of their demise and never fully responsible. Lulu's representation as a victim of nothing but her own zest for love and life in a stagnant, repressive society, is an example of humanist cinema at its finest. Brooks' personal life was no less turbulent than her character's: after a potentially prosperous career and scores of lovers (from Chaplin to Pabst himself), she quit the business, refusing to cooperate with its humiliating limitations and rigid standards. Fortunately for us, her name has been immortalized in an impeccable movie.