This page is part of an experiment in local film history. Let me explain…. Some years ago, I started work on a book which looked at the films of Louise Brooks through the lens of the local, namely the San Francisco Bay Area. It was where I then lived. At the time, I realized most film history is told on a “national level,” in part through articles and reviews from national magazines or through newspapers which serve a national audience, like the New York Times or Los Angeles Times. I wanted to try something different. I wanted to compile a critical history of Brooks’ films on a regional basis. I thought it would prove interesting, given that two of her films were shot in the region, a few of her co-stars came from the area, etc…. To that end, I gathered articles and reviews and advertisements from dozens of newspapers in nearly just as many cities and towns.
Over time, the focus of my book grew beyond the San Francisco Bay Area to include the greater San Francisco Bay Area and eventually all of Northern California. How could I ignore Sacramento — the State Capitol, which was just 100 miles away? And how about Wine Country to the North, or the Monterey Peninsula to the south? This area was connected, not only geographically, but also culturally. Additionally, it was significant that a major film exchange — a hub for the coming and going of film prints — was located in San Francisco. Despite the dilution caused by project creep, I found a lot of great material — interesting articles, unusual photographs, thoughtful reviews, and some nifty and unusual advertisements. All of it spoke to the unique story the region has to tell about the actress. [The fuller story behind this page and my yet unfinished book can be found in the Louise Brooks Society SubStack article, “Lulu by the Bay: Some notes on an unfinished book“.]
One of the side projects I developed while working on Lulu by the Bay was a record of each of the documented screenings of a Louise Brooks film in Northern California, starting in 1925 and running through till today. I recorded in which city and at what venue and over what period of time any particular film was shown. Additionally, I noted the occasions when a film was shown as part of a double bill, if there was a special guest appearance, or some other unusual circumstance, like a benefit.
For example, in regards to The American Venus, I noted “American in Oakland (Jan. 1, 1926 New Year’s Eve midnight matinee benefit screening)”.
For It’s the Old Army Game, I noted “High School Auditorium in Gonzales (Sept. 3, 1926)”.
For Evening Clothes, I noted “American in Oakland (Apr. 9-15, 1927 with an appearance by Louise Brooks on April 9th)”.
For The City Gone Wild, I noted “State in Oroville (Aug. 20-21, 1928 with Tunney-Heeney fight picture)”.
For Now We’re in the Air, I noted “American Legion holiday party at Scout Hall in Mill Valley (Dec. 26, 1927 with live musical accompaniment by the Mill Valley Five)”.
For Pandora’s Box, I noted “Monterey Peninsula College in Monterey (between Aug. 2-5, 1962 as part of Peninsula Film Seminar)”.
Most entries are far less interesting, even banal. Nevertheless, in the aggregate, they tell a story about film exhibition, theaters, and film criticism, with a dose of local celebrities and local history thrown in. The record of screenings which I compiled — and am still adding to now and then — has come to more than 17,000 words over 30 pages. Who knew there were so many? The individual films listed below link to the Northern California exhibition record which I compiled for each individual film. If you live in Northern California and are interested in find out if a Brooks’ film played where you live, here is just the record to satisfy your curiosity. Also, if you know of other screening which are not listed, please CONTACT the Louise Brooks Society.
Along with much else, this record reveals a number of interesting things: in Northern California (as well as much of the United States), Brooks’ most popular / most shown silent film was likely Now We’re in the Air, while her most popular sound film was When You’re in Love. Overall, Brooks’ least shown film was Windy Riley Goes Hollywood — and notably, the three European films were not shown in the region until decades later.In fact, the Pandora’s Box record mention above marked the film’s Northern California debut, as well as only the second time the film was shown in California.
Lulu by the Bay:
The Street of Forgotten Men (1925)
The American Venus (1926)
A Social Celebrity (1926)
It’s the Old Army Game (1926)
The Show-Off (1926)
Love ‘Em and Leave ‘Em (1926)
Just Another Blonde (1926)
Evening Clothes (1927)
Rolled Stockings (1927)
Now We’re in the Air (1927)
The City Gone Wild (1927)
A Girl in Every Port (1928)
Beggars of Life (1928)
The Canary Murder Case (1929)
Pandora’s Box (1929)
Diary of a Lost Girl (1929)
Prix de Beauté (1930)
Windy Riley Goes Hollywood (1931)
It Pays to Advertise (1931)
God’s Gift to Women (1931)
Empty Saddles (1936)
King of Gamblers (1937)
When You’re in Love (1937)
Overland Stage Raiders (1938)
Contemporary documentary films