7.9/10
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Pandora's Box (1929)

Die Büchse der Pandora (original title)
Not Rated | | Crime, Drama, Romance | 22 February 1930 (Japan)
The rise and inevitable fall of an amoral but naive young woman whose insouciant eroticism inspires lust and violence in those around her.

Writers:

Frank Wedekind (plays), Ladislaus Vajda (scenario)
Reviews
1 nomination. See more awards »

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Cast

Complete credited cast:
Louise Brooks ... Lulu
Fritz Kortner ... Dr. Ludwig Schön
Francis Lederer ... Alwa Schön (as Franz Lederer)
Carl Goetz Carl Goetz ... Schigolch
Krafft-Raschig Krafft-Raschig ... Rodrigo Quast
Alice Roberts Alice Roberts ... Gräfin Geschwitz - Countess Anna Geschwitz
Daisy D'Ora 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 Stage Manager (as Siegfried Arno)
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Storyline

Lulu is a beautiful young woman who can seemingly work her charms on all of the men around her. She is currently being kept by the rich editor Dr. Ludwig Schön. She is just a plaything however and he is engaged to be married to Charlotte, a woman of his own class. He arranges for Lulu to appear in his son Alwa's musical revue and he too falls for all of her charms. When Dr. Schön and his fiancée go to the theater, Lulu ensures that he is put in a compromising situation and the elder Schön feels he now must marry her, knowing full well it will ruin his reputation. On his wedding day, Dr. Schön reaches his breaking point. His actions cost him his life however and Lulu is convicted of manslaughter. She escapes with the help of her old cronies but together they begin a downward spiral. Written by garykmcd

Plot Summary | Plot Synopsis

Genres:

Crime | Drama | Romance

Certificate:

Not Rated | See all certifications »
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Details

Country:

Germany

Language:

German

Release Date:

22 February 1930 (Japan) See more »

Also Known As:

Pandora's Box See more »

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Box Office

Opening Weekend USA:

$9,950, 18 June 2006

Gross USA:

$53,485

Cumulative Worldwide Gross:

$62,686
See more on IMDbPro »

Company Credits

Production Co:

Nero-Film AG See more »
Show more on IMDbPro »

Technical Specs

Runtime:

(restored) | (Copy with French titles at Brussels Musée du Cinéma) | (original) | (video) | (2018) (restored)

Sound Mix:

Silent

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

The character of Lulu, the free-spirited and sexually-promiscuous Berlin flapper, her iconic haircut, blatant sexuality, and manner of dress momentarily influenced the model of what became known as the "new modern woman" in Europe and the United States. See more »

Goofs

[All goofs for this title are spoilers.] See more »

Quotes

Salvation Army Woman: [Unbeknownst, to Jack the Ripper] Brother, how can I help you?
See more »

Alternate Versions

Georg Wilhelm Pabst commented with irony the changes imposed by foreign censors and distributors: "I do not know why someone thought useful to substitute Doctor Schoen's son, Alva Schoen, by an assistant, mark Heding; or why Frank Wedekind the play-writer who is not exactly unknown in France, was renamed Thoma Wedering. I do not know why Loulou is acquitted in the French version, while she is condemned in mine; or why the so important sequence of Jack the Ripper was cut, which gives the film a ridiculous moralistic end. It is not surprising that the nature of my characters have been completely changed... I would at least hope that one would have shown the film as I have created it, to professionals, so that they could evaluate it. They did not want to do it. So many efforts wasted for nothing. They wield the scissors... When will be rid of this plague?" (Source: Pour Vous, Paris magazine, May 2, 1929, quoted by Adonis Kyrou in "Amour-Erotisme & Cinéma", 1957.) See more »

Connections

Featured in Grand Illusion (1985) See more »

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User Reviews

 
On point
20 November 2005 | by markalexandrinoSee all my reviews

Besides the grim fatalist moral lesson, the film is lacking Expressionist ideals, and is more in tune with later Weimar cinema. The fact that it has a female lead certainly separates it from the classic Expressionist works. And shadowing and landscape techniques are much more modernized reflecting Weimar's embrace of technology and immersion into consumer culture. Even today, there are few female actors that represent such a powerful will and dominant presence as Louise Brooks did in her masterful performance. The film was not very popular at its time of production and I wonder how much that has to do with this strong female presence.


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