Louise Brooks

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She has an evil smile and an Adam’s apple.

From Wikipedia, the free encyclopedia

Louise Brooks (November 14, 1906 – August 8, 1985), born Mary Louise Brooks, was an American film actress and dancer noted as an iconic symbol of the flapper, and for popularizing the bobbed haircut.

Brooks is best known as the lead in three feature films made in Europe: Pandora’s Box (1929), Diary of a Lost Girl (1929), and Miss Europe (1930); the first two were made by G. W. Pabst. She starred in seventeen silent films and eight sound films before retiring in 1938. Brooks published her memoir, Lulu in Hollywood, in 1982; three years later she died of a heart attack at the age of 78.

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(c.1926)
Born Mary Louise Brooks
November 14, 1906
Cherryvale, Kansas, U.S.
Died August 8, 1985 (aged 78)
Rochester, New York, U.S.
Other names Lulu
Occupation Actress, dancer
Years active 1925–1938
Spouse(s) A. Edward Sutherland(m. 1926–28)
Deering Davis (m. 1933–38)
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She has wicked-looking eyes.

 

 

Ziegfeld Star - Louise Brooks - 1920s - by Alfred Cheney Johnston. Restored by Nick and jane for Dr. Macro's High Quality Movie Scans Website: http://www.doctormacro.com. Enjoy!

Where are her breasts and hips? She looks very masculine. She was known for her masculine sex drive. She was very sexually promiscuous and she was very sexually aggressive. She posed nude in many suggestive photos. She is “credited” with making it popular for women to be sexually liberated. She had sexual encounters with both men and women (including Greta Garbo), but she preferred men. She often as a prostitute and a lesbian in movies at times. She made being flat-chested considered sexy, supposedly. She is one of the main reasons why “boy-figure” bodies were viewed so favorably during the Roaring Twenties.” Women everywhere wanted to emulate her “sexy” boy look, and men everywhere viewed her as a sex symbol.

 

 

 

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She has a masculine cleft chin and a wig.

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She has a long masculine nose and a sneaky look on her face.

Early life

Born in Cherryvale, Kansas, Louise Brooks was the daughter of Leonard Porter Brooks, a lawyer, who was usually too busy with his practice to discipline his children, and Myra Rude, an artistic mother who determined that any “squalling brats she produced could take care of themselves”.[1]

 Brooks as a sophomore in high school, 1922[2]

Rude was a talented pianist who played the latest Debussy and Ravel for her children, inspiring them with a love of books and music.

When she was 9 years old, a neighborhood predator sexually abused Louise. This event had a major influence on Brooks’ life and career, causing her to say in later years that she was incapable of real love, and that this man “must have had a great deal to do with forming my attitude toward sexual pleasure….For me, nice, soft, easy men were never enough – there had to be an element of domination”.[3] When Brooks at last told her mother of the incident, many years later, her mother suggested that it must have been Louise’s fault for “leading him on”.[4]

 

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Check out her masculine brow bone and jawbone.

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Isn’t this a man in drag?

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She is an exhibitionist (much like many drag queens she needed constant attention on her body) with masculine legs, and large shoulders.

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Maybe Miley Cyrus learned licking everything from this woman (man).

 

Brooks began her entertainment career as a dancer, joining the Denishawn modern dance company in Los Angeles (whose members included founders Ruth St. Denis, and Ted Shawn, as well as a young Martha Graham) in 1922. In her second season with the company, Brooks had advanced to a starring role in one work opposite Shawn. A long-simmering personal conflict between Brooks and St. Denis boiled over one day, however, and St. Denis abruptly fired Brooks from the troupe in 1924, telling her in front of the other members that “I am dismissing you from the company because you want life handed to you on a silver salver”.[5] The words left a strong impression on Brooks; when she drew up an outline for a planned autobiographical novel in 1949, “The Silver Salver” was the title she gave to the tenth and final chapter.[6]

Thanks to her friend Barbara Bennett (sister of Constance and Joan), Brooks almost immediately found employment as a chorus girl in George White’s Scandals, followed by an appearance as a featured dancer in the 1925 edition of the Ziegfeld Follies on Broadway. As a result of her work in the Follies, she came to the attention of Paramount Pictures producer Walter Wanger, who signed her to a five-year contract with the studio in 1925.[7] (She was also noticed by visiting movie star Charlie Chaplin, who was in town for the premiere of his film The Gold Rush. The two had an affair that summer).[8]

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For a flapper and sex symbol, she sure looks like a young boy.

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My my, those are some large shoulders and tiny breasts.

 

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What a large masculine back she has.

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Even back in the twenties cross-dressing was seen as hip.

 

 

 

 

 

 

American films

Brooks made her screen debut in the silent The Street of Forgotten Men, in an uncredited role in 1925. Soon, however, she was playing the female lead in a number of silent light comedies and flapper films over the next few years, starring withAdolphe Menjou and W. C. Fields, among others.

She was noticed in Europe for her pivotal vamp role in the Howard Hawks directed silent “buddy film”, A Girl in Every Port in 1928.[9]

In an early sound film drama, Beggars of Life (1928), Brooks played an abused country girl on the run with hobos Richard Arlen and Wallace Beery whom she meets while riding the rails. Much of this film was shot on location, and the boom microphone was invented for this film by the director William Wellman, who needed it for one of the first experimental talking scenes in the movies.

By this time in her life, she was mixing with the rich and famous, and was a regular guest of William Randolph Hearst and his mistress, Marion Davies, at San Simeon, being close friends with Davies’ niece, Pepi Lederer. Her distinctive bob haircut helped start a trend; many women styled their hair in imitation of her and fellow film star Colleen Moore.[10] Soon after the film Beggars Of Life was made, Brooks, who loathed the Hollywood “scene”, refused to stay on at Paramount after being denied a promised raise, and left for Europe to make films for G. W. Pabst, the prominent Austrian Expressionist director.

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There is that cleft in his/her chin again.

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They flaunted it in people’s faces that she looked like a boy.

Showoff

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If her make-up was removed she could easily pass for a boy here.

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Again, this photo makes it obvious she has no hips or breasts, but she is built like a box.

Marriages and relationships

Brooks in her prime

In the summer of 1926, Brooks married Eddie Sutherland, the director of the film she made with W. C. Fields, but by 1927 had fallen “terribly in love”[25] with George Preston Marshall, owner of a chain of laundries and future owner of the Washington Redskins football team, following a chance meeting with him that she later referred to as “the most fateful encounter of my life”.[26] She divorced Sutherland, mainly due to her budding relationship with Marshall, in June 1928.[27]

In 1933, she married Chicago millionaire Deering Davis, a son of Nathan Smith Davis, Jr., but abruptly left him in March 1934 after only five months of marriage, “without a good-bye… and leaving only a note of her intentions” behind her.[28] According to Card, Davis was just “another elegant, well-heeled admirer”, nothing more.[28] The couple officially divorced in 1938.

Despite her two marriages, she never had children, referring to herself as “Barren Brooks”.

Her many lovers from years before had included a young William S. Paley, the founder of CBS. According to Louise Brooks: Looking For Lulu, Paley provided a small monthly stipend to Brooks for the rest of her life, and according to the documentary this stipend kept her from committing suicide at one point. She also had an on-again, off-again relationship with George Preston Marshall throughout the 1920s and 1930s (which she described as “abusive“). He was the biggest reason she was able to secure a contract with Pabst. Marshall repeatedly asked her to marry him, but after finding that she had had many affairs while they were together, married film actress Corinne Griffith instead.

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They want to show off her lack of breasts. I guess she was a sex symbol for men that liked boy’s bodies.

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Where are her hips? Look at that huge dent between her brow bones. That is a male trait.

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Brooks had been a heavy drinker since the age of 14,[21] but she remained relatively sober to begin writing about film, which became her second career.

During this period she began her first major writing project, an autobiographical novel called Naked on My Goat, a title taken from Goethe‘s Faust. After working on the novel for a number of years, she destroyed the manuscript by throwing it into an incinerator.

She was a notorious spendthrift for most of her life, and was kind and generous to her friends, almost to a fault.

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Rediscovery

“There is no Garbo! There is no Dietrich! There is only Louise Brooks!”

Henri Langlois, 1953[23]

French film historians rediscovered her films in the early 1950s, proclaiming her as an actress who surpassed even Marlene Dietrich and Greta Garbo as a film icon, much to her amusement. It would lead to the still ongoing Louise Brooks film revivals, and rehabilitated her reputation in her home country.

James Card, the film curator for the George Eastman House, discovered Brooks living as a recluse in New York City about this time, and persuaded her to move to Rochester, New York to be near the George Eastman House film collection. With his help, she became a noted film writer in her own right. A collection of her writings, Lulu in Hollywood, was published in 1982. She was profiled by the film writer Kenneth Tynan in his essay, “The Girl in The Black Helmet”, the title of which was an allusion to her bobbed hair, worn since childhood, a hairstyle she helped popularize.[24]

She rarely gave interviews, but had special relationships with film historians John Kobal and Kevin Brownlow. In the 1970s she was interviewed extensively, on film, for the documentaries Memories of Berlin: The Twilight of Weimar Culture (1976), produced and directed by Gary Conklin, and for the documentary seriesHollywood (1980) by Brownlow and David Gill. Lulu in Berlin (1984) is another rare filmed interview, produced by Richard Leacock and Susan Woll, released a year before her death, but filmed a decade earlier. Author Tom Graves was allowed into Brooks’ apartment for an interview in 1982, and later wrote about the at times awkward and tense conversation in his article “My Afternoon With Louise Brooks” that is the lead piece in his book Louise Brooks, Frank Zappa, & Other Charmers & Dreamers.

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The image of the beast is baphomet:  transgendered. All who worship his image shall at the time of great tribulation be transgendered and transgender.

Revelation 13:15-18 And he had power to give life unto the image of the beast, that the image of the beast should both speak, and cause that as many as would not worship the image of the beast should be killed. And he causeth all, both small and great, rich and poor, free and bond, to receive a mark in their right hand, or in their foreheads: and that no man might buy or sell, save he that had the mark, or the name of the beast, or the number of his name. Here is wisdom. Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is Six hundred threescore and six.  

We speak in our rights of free speech and personal opinion. The personal opinion of each transvestigator is not deemed nor stated to be held by any other individual or the owner of this site. We are exposing the global initiative of the 666 beast system to transgender the global population. It's the baphomet satanic illuminati NWO transgender agenda.