Product Details

• Amazon Sales Rank: #133063 in DVD
• Aspect ratio: 1.33:1
• Number of discs: 1
• Format: NTSC
• Original language: German
• Dubbed in: English, German
• Running time: 109 minutes

Amazon.com essential video
G.W. Pabst's 1928 silent masterpiece Pandora's Box stars the luminous and highly photogenic Louise Brooks. She plays the irresistible Lulu, a cabaret star who entices, captures, and eventually destroys all men who cross her path. Her beauty and her fetching charm draw an assortment of repressed and lonely people; Schigolch, a boozy old man who pretends he's her father, Geschwitz, a countess who has also fallen for Lulu, and Schoen, a rich tycoon who carries on an affair with Lulu even though he's to be married. His short solution is to put Lulu in his son Alwa's vaudeville show. As Alwa, too, becomes trapped in Lulu's charms, Schoen's fiancée catches Lulu and Schoen in a backstage embrace. Lulu quickly takes her place as Schoen's bride, only to drive Schoen to suicide during their wedding party. Put on trial for murder, Lulu almost gets out of it by simply batting her eyes at the prosecutor. Still, she is found guilty, and Alwa, who has grown increasingly obsessed, causes a distraction to allow Lulu's escape from the courthouse. Alwa, Lulu, and Schoen become desperate fugitives, eventually ending up in London where Lulu finally meets her match: Jack the Ripper. Pandora's Box offers pure cinematic delights--Pabst's luscious photography, the tense drama of its story line, and most impressively and importantly, Louise Brooks, who gives a performance that is certainly one of the best in the history of cinema. --Shannon Gee

Customer Reviews

Silent Masterpiece.
Growing up in Rochester, New York, I was lucky enough to spend many occasions at The Dryden Theater, of The George Eastman House, which has one of the largest film libraries and preservations in the world. It was there that I became acquainted with this film. It was not, however, my first introduction to Louise Brooks, though I had no idea at the time that the little old lady I used to deliver prescriptions to was an icon of the dawn of an art form. She lived a modest life in her tiny apartment on the second floor of an old Victorian house (which, at that time, was just an old house), in a run-down, dangerous, city neighborhood. And, when I was told that she had once been a famous actress, I, being the dreamer that I was, found that very glamorous and romantic. Though I would have loved to talk to her about her part in the movie world, a world I readily escaped to in order to avoid the bleakness around me, my then extreme shyness, youth, and the intimidation I now felt in her mere presence prevented me from doing so. She worked a counter at our Sibleys Department store downtown, until age and illness overcame her, and lived in almost total anonymity, forgotten. When I finally saw "Pandoras Box", in the dark on that big screen, it was with an overwhelming feeling of respect and awe at the luminous magic of this actress. Director Pabst was a mentor to Brooks as Von Stroheim was to Dietrich, and in this film he creates Brooks most famous role. Enough has been said about the plot, and the daring for that time characters. So I will only say I recommend viewing this beautiful film not only to enjoy it, but out of respect to something that deserves to be preserved. It is pleasing to see that there are apparently many who still appreciate these early works, when the art form was new, exciting, and creative, three qualities which the current movie industry is almost entirely devoid of. If you want to learn more about the legendary screen presence that was Louise Brooks, read her auto-biography "Lulu In Hollywood", or Kenneth Tynans essay on her, which was what regenerated an interest in this shamelessly forgotten star. Or, best yet, watch her films, of which "Pandoras Box" is the most classic and timeless.

A classic of the German silent Expressionist films
Louise Brooks was the penultimate flapper girl of the 1920s. Surprisingly, her greatest cinematic triumph came not in her American films but rather in the two German films she made with director G.W. Pabst. These two films, "Pandora's Box" and "Diary of a Lost Girl" are absolute classics of the silent era. It is a pity that for a long time, they were forgotten and ignored. However, both are now available VHS and are highly recommended viewing for anyone interested in films from the silent era.

I've always liked silent films because the absence of sound made it necessary for the directors to develop a more creative visual approach in order to tell a story. This often made for visually striking cinematography, especially in German Expressionism. We can see the influence of this style of film making in the early American horror films or even the 1940s film noir genre or even the early films of Alfred Hitchcock (one of my favorite directors).

Pandora's Box is a prime example of German Expressionism. Every shot is so well-crafted that any single frame might be considered a work of art. And with the film centered around Lulu, as played by Louise Brooks in her greatest film role, those frames look quite lovely indeed. The story is one of decadence and sensuality; it follows Lulu, who appears to project both innocence and promiscuity at the same time, as she falls from grace, going from a lifestyle of riches to the backstreets of London. The film was considered quite immoral and erotic at its initial release (it wouldn't even be PG-13 in this day and age) and contained one of the first depiction of lesbianism on celluloid.

Nonetheless, it has survived its initial scandalous reputation to become considered one of the masterpieces of the silent era. Definitely try to see this film, and "Diary of a Lost Girl" as well, if possible. Both are excellent. Now if only Criterion would do justice to either of these films on DVD like it did with "Passion of Joan of Arc...."

The silent film that aged the best
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 Bogart 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.