thinkgreenthursday

In this series, we look at movies from all over the cinematic time line and select a shot that particularly resonates with us, be it for aesthetic, thematic or for simple eye candy reasons. Join us!

This week we gaze lustily at...



It's an easy thing to do. I've seen this 1929 silent (the original title is Die Büchse der Pandora) four times now and each time I'm startled anew at its carnality. It's one of the most erotic movies ever made and not just for the provoactive subject matter which follows the gradual undoing of one Lulu (Louise Brooks), a wild thing who marries up before bringing everyone down; director G.W. Pabst and cinematographer Günther Krampf partner with Brooks in continually fetishizing Lulu's porcelain flesh, painted lips, and erotic abandon.

In fact, there are so many vigorous closeups of men grabbing at Brooks' smooth arms or shaking her with a closeup of barely clad breasts and still more long shots which make her all legs or break up her body with visible obstacles (usually men) that the film runs the risk of dehumanizing her. She is doll parts. But Brooks saves the film from any exploitative quality with the full humanity of one of the all time great silent performances. The Look she gives her eventual husband's fiance when they're caught in the act, is one of the most salacious things you'll ever see. Brooks understands that Lulu is capable of self awareness and smug ownership of her inner floozy. But Brooks is not, to the film's infinite benefit, content to play merely one horny or bitchy note. She makes Pandora, excuse me Lulu, a treasure chest full of contradictions, emotions, and often curious or self destructive impulses.



Even her step son Alwa is pussy whipped. He just collapses into her lap on her wedding night. It's my choice for the film's best shot. It's gorgeously lit, capturing the sensual beauty of flesh, satin gowns, manly curls and erotic connection. Lulu loves Alwa, too... in her way. This is also a key moment in the storytelling. Lulu's husband (and Alwa's father) is about to enter the frame from the left with a gun in hand. The husband/father has already shown an odd habit of passing Lulu on to his son while warning him against her. We're only 40 minutes into the movie and this odd dynamic is about to occur again

Like many noirs that followed Pandora's Box into cinemas over the next two decades, the movie can be read as a nightmare sexist parable about the dangers of female sexuality. But Pandora's Box is modern enough in content and star performance and complex enough in mise-en-scène to offer up alternative readings. There are so many disturbing shots of men fondling and chasing money with as much fervor as they pursue Lulu, that you could just as easily read it as a nightmare parable about the dangers of insatiable male greed.

Again, you could write a book. If you haven't seen the movie, I can't recommend it highly enough. A

Lulu's Other Men

• Against the Hype, who has been a passionate and faithful participant in this series, celebrates Lulu's impulsive behavior and utter inability to predict the future. I can predict the future: Colin will have a great experience at college seeing all the amazing films he's jotted down.
• Pussy Goes Grrrr even uses Lulu as their longtime banner beauty
  
• Serious Film stares and stares at that salacious look I described earlier and ponders its prismatic wonder. It's a beautiful write-up on the power of star acting.
• Movies Kick Ass looks at Lulu twice, the static painted Lulu and the ever-changing physical version. Pabst uses art in such interesting ways in this movie. Again... you could write a book!
• Stale Popcorn can't choose but gladly jumps backwards in time for the " 'classic' because it's good, not 'classic' because it's old" Hit Me With Your Best Shot films.
  

• Angels in America (2003)
• X-Men (2000)
• Showgirls (1995)
• Bring It On (2000)
• Black Narcissus (1946)
• A Face in the Crowd (1957)
• Se7en (1995) 
• Requiem for a Dream (2000)