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Cast
Credits
Louise
Brooks. . . . . .Lulu Studio
. . . . . . . . . . . Nero Film AG
Fritz Kortner . .
. . . . .Dr. Peter Schoen
Director . . . . . . . . . .Georg
Wilhelm Pabst
Carl Goetz. . . . . .
. . .Schigolch
Cinematography. . . . Günther
Krampf
Alice Roberts.
. . . . . .Countess Anna Geschwitz
Written by. . . . . . . . Joseph
Fleisler
Daisy D'Ora .
. . . . . ..Charlotte M.A. von Zanik
Georg Wilhelm Pabst
Krafft Raschig.
. . . . . .Rodrigo Quast
Ladislaus Vajda
Michael
von Newlinsky. . Marquis Casti-Piani
Frank Wedekind
Sig Arno. . . . . .
. . . . .Instructor
Art Direction by. . . . Andrej
Andrejew
Gustav Diess.l
. . . . . . Man/Jack the Ripper Gottlieb
Hesch
Francis Lederer.
. . . . .Alwa Schoen
Run
Time: 100 minutes
G.W. Pabst's silent film Pandora's Box, was released in 1928. He based Pandora's Box on the Wedekind "Lulu Plays," specifically Die Buechse Der Pandora (Pandora's Box), re-interpreted his work, and created a new Lulu. Pabst's Lulu is devastatingly beautiful, inherently charming, and flirtatious -- a combination which seemingly everyone she meets finds irresistible. Her powerful gifts of beauty are matched, or rather contradicted, with an almost childish innocence and carefree attitude. In a modern re-invention of the classic Pandora tragedy, Lulu's carelessness with her gift of charm and attractiveness brings evil to the world and those she truly loves. Lulu is held responsible for the evil around her, and is labeleda criminal by her society -- a society which no longer believes in fate.
Fate seems an outgrown concept in Pandora's Box. The society has a different understanding of personal responsibility than the Greeks and other classical cultures, probably due in large part to the emergence of psychology. The new concepts of the subconscious, sexual instinct, and the libido proposed by Freud and others dispel belief in destiny, placing blame and accountability on the person instead of supernatural influences. The story of Pandora and her box, or jar of evils, is no longer a story about the fate of a hapless woman, created as an instrument to punish mankind; instead Lulu is held directly responsible for the evil she inspires.
Frank Wedekind's influence on "Pandora's Box" can be seen in the treatment of Lulu by society. Wedekind portrays Lulu as a monster, intentionally causing evil and violence -- she is conscious of the harm she causes and unquestionably accountable for the evil around her. She is labeled as a criminal and executed. The Lulu in "Pandora's Box" is created a lesser evil, lacking as much anger and malicious intent: more a child than a monster. Nonetheless she becomes the same criminal and suffers an identical death.
Lulu's death proves difficult or even impossible to digest, as she is murdered under a vague morality. To understand her execution, her story must be analyzed carefully.
Lulu begins the film appearing childish and innocent. She radiates warmth and acceptance, selflessly giving and receiving attention to everyone in her social world. She is enthusiastically visited by old friends and lovers who seem cheerful and carefree, happy to have Lulu as a friend.
The first sign of discontent in Lulu's world emerges as the sad-faced Dr. Schoen. The two have been lovers for several years, and Lulu attempts to receive him with a kiss. He denies her advances and announces his marriage plans with another woman. Lulu remains calm at first, but later throws a tantrum, unable to consider another woman in his life. Despite efforts to reason with Lulu, she exposes her affair with Dr. Schoen to his fiancé in a perplexing scene. Lulu's motives for destroying the marriage are unclear: is she simply jealous of the attention given to the other woman, or could the success of the marriage present a deeper conflict in Lulu? Perhaps the childish games are ostensible, concealing her hard heart, unable to tolerate others' successes.
Lulu wins her fight for Dr. Schoen, and the two are married. A lavish reception is thrown, which functions as a fulcrum for the film and the pointat which society turns against Lulu.
The reception begins as a bright, cheery and intoxicated party, complete with a full band and large guest list. Lulu dances, socializes and flirts with many of the guests, while her new husband contentedly enjoys the company of his friends. As the night progresses, however, tempers flare, and Dr. Schoen threatens his guests with a pistol, accusing them of flirting with Lulu. Immediately the band leaves and the reception ends, leaving Dr. Schoen and his bride Lulu together alone in the bedroom. Dr. Schoen unexpectedly turns the gun on Lulu. He perceives her as evil, and pleads with her, "Kill yourself . . . it is the only way to save both of us," while forcing the gun into her hand. The gun fires and Schoen falls to the ground, givinga final warning to his son, who is also in love with her: "Beware, Alwa, you are next!"
The murder is complex, in that it is unclear who fired the pistol: Schoen blocks the gun from view when the fatal blow is delivered. Somehow the pistol turns and points away from Lulu -- confusing in itself. Schoen (played by Fritz Kortner) is physically much stronger than the small Lulu (Louise Brooks) and could not have been overpowered. It remains possible he committed suicide, lacking the nerve to kill his bride andunwilling to face the consequences of murder, yet unable to live with his torturing infatuation for her.
Regardless
of the vague circumstances, society sees Lulu as the logical culprit and
forces her to stand trial. She gives only a token amountof grief for her
late husband, wearing a black veil which cannot conceive her incorrigible
happiness. The prosecution attempts to convince the jury of Lulu's responsibility
for the murder:
"The
Greek gods created a woman: Pandora. She was beautiful - enticing
- well versed in the infatuating arts of flattery . . . but the gods
also gave her a casket in which they locked up all the evil in the
world. The heedless woman opened the box and disaster over-came
us!"
In analyzing this comparison, it seems at first to support Lulu's defense.The
prosecution admits Lulu was created heedless, and thus doomed to open the
"box." She is a persecuted innocent. However, the modern society
does not view Lulu as fated; she controls her own actions and is thus personally
responsible for and guilty of the murder of Dr. Schoen. She created the
evil "box" herself and must pay for the consequences of her evil.
The court decides for the prosecution, sentencing her to five years prison
time. But Lulu will never serve her sentence -- she escapes the courtroom
with the aid of admirers and flees the country.
Dr. Schoen's son Alwa, now deeply in love with Lulu, ushers her around Europe. They settle in France on an abandoned ship which has been converted into a casino and bar, and live on a small amount of reserve cash. The two are joined by old admirers Schigolch, Rodrigo and Countess Geschwitz and the group seems to find happiness, enjoying the long nights of drinking and gambling.
The good times are not to last. In a fast and furious scene, Rodrigo, increasingly desperate and jealous for Lulu's love, threatens to notify the police of Lulu's hideout unless she leaves Alwa and the group. Alwa looses the remainder of the money in a bet, and Lulu is sold to an Egyptian to cover her debts. Rodrigo dies under mysterious circumstances, the police arrive, and the remainder of the group -- Alwa, Lulu and Schigolch -- flee to London. Lulu once again inspires violence and misfortune.
London is the darkest time for the fugitives. They are without money, food and shelter. With miserable and depressing imagery, the group is shown as miserable vagrants, dressed in rags and starving. Out of this suffering Lulu makes an uncharacteristically serious decision, resolving to sell herself so that she and her friends can eat. Alwa resists the idea, butis persuaded by Schigolch to leave her. Lulu walks the streets and surprisingly seduces the complex character of Jack the Ripper.
Before meeting Lulu, Jack the Ripper gives money to charity and receives a branch of mistletoe for his generosity. The two meet and kiss under this mistletoe, and while embraced he stabs and kills Lulu. As he leaves her room, London erupts into a Christmas celebration. Christian parades fill the streets as revelers celebrate the occasion.
This complicated scene directly juxtaposes Jack the Ripper with Jesus Christ. London celebrates the murder of Lulu and the savior of society who has brought her to justice. However, the celebration is not without contradiction.
Jack the Ripper represents the evils of society. London is in fear of him and appears disgusted with his behavior. Paradoxically this same character becomes a savior figure. The society fears the evil Lulu causes, the murder and destruction that have followed her from Germany, and demands her execution. In supporting Jack the Ripper, the society exposes itself as equally or more murderous and destructive. Perhaps Lulu is not responsible for the evil that surrounds her, but instead a victim of society,of society's desires. Her innocence may expose the evil in others, and these others ostensibly blame Lulu for what they themselves are responsible for.
Lulu represents the sexual being, a necessary function of society -- and is prosecuted as a criminal. Lulu is seen as personally responsible for her actions and the evil that surrounds her, and must be restrained. Her perceived sexual license is an aspect of human personality that the society feels should remain repressed, or at least controlled. Thus Jack the Ripper is vital and supported by society. However he also is a manifestation of human instinct, specifically violence, and is ostracized.
As the discussion of "Pandora's Box" progresses, the moralities of Lulu, her lovers, Jack the Ripper and society become increasingly complex. The contradictions the society presents, and the conflict between personal responsibility, and fate confuse our emotions and thoughts as we try to focus on exactly who, if anyone, is to blame for the misfortune and misery. The discussion becomes further complicated as we compare the film to our personal lives and relate the beautiful Lulu (Louise Brooks) to people existing in our reality and society.
Copyright Tim Samuel,
Twenties Reconstruction Society, 1998
E-Mail: seven9000@aol.com
Twenties Reconstruction Society (small) Webpage: http://members.aol.com/SEVEN9000/index.html
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