That G. W. Pabst co-produced and wrote the script, from a story by René Clair, is no small get. This is more precious still as one of the surviving films of Louise Brooks, sporting her signature bob, even if she was dubbed over in post. Such involvement is perhaps even more noteworthy at the outset since the narrative in this feature takes its time to begin to show its substance, early humor is more blithely amusing than actively engaging, and all the while there are some scenes that aim to pad out the length with frivolous nothings more than to meaningfully serve the whole. This also rather shows its age with abundant instances of footage unnaturally sped up to enhance the mood, and some additional rough edges crop up every now and again. As one last difficulty, from start to finish we experience a huge, frankly jarring tonal shift which comes off as someone having a hard time finding balance in the storytelling; flippant and mirthful to begin, well before the end we're taken somewhere very different. Yet for all this, while 'Prix de beauté may be imperfect, it steadily gathers strength throughout, and handily proves itself as a fine credit to all involved. In fact, despite flaws and a meager first impression, when all is said and done this is just about as fantastic as any of its best contemporaries, and highly satisfying as a viewer.
One of Brooks' great qualities as an actress was her deft nuance and natural body language, infusing performances with subtlety that was often lacking in the silent era, and for which she initially received some backlash (the risk of being ahead of her time). We see that trait again here, and the journey of Brooks' facial expressions and body language honestly do at least as much as the dialogue and scene writing, and probably more, to build the narrative as protagonist Lucienne progresses (notably, wittily, given the nickname of "Lulu"). Emphasizing the point: while on a superficial level the plot revolves around beauty pageants, the real core of the movie is in the development of Lucienne as a character, and of her relationships with other characters; the first real glimmer we get of that central thrust is late in the first act, and entirely thanks to Brooks' expressions. It's to the credit of filmmaker Augusto Genina that he seems to have built 'Prix de beauté' with Brooks' skill set in mind, for the best moments of the title stem from the feelings of the characters as the cast ever so tactfully communicate them, a tack that only ever becomes more significant.
I believe everyone gives a swell performance in turn, not least Georges Charlia, but without a doubt it's Brooks who stands out most. This piece may not have the same renown as 'Pandora's box' or 'Diary of a lost girl,' but as far as I'm concerned 24-year old Brooks demonstrates once again and just as surely what a terrific actor she was; I can only reflect how sad it is that her career waned hereafter. Kudos again to Genina as director for shaping this 1930 picture with a mind for finesse, and with a delicate hand, for that unquestionably contributes to its success as outstanding tiny details constitute the beating heart. Why, there are instances here of shot composition that are downright brilliant, and perhaps uncommon at this point in the medium's evolution. And yet Rudolph Maté and Louis Née almost threaten to upstage them all, for their cinematography is possibly the most lush and vibrant aspect of 'Prix de beauté.' The dynamic movement and piercing gaze of the camera's eye is an outstanding highlight at every point, luminosity that shines through even the more dubious examples of Edmond T. Gréville's excitable editing - while at the same time never being so prominent as to get in the way or feel out of place. The film has its faults, but by and large it was crafted with skill, intelligence, and care in distinct and important ways.
Such excellence absolutely extends to the hair and makeup, costume design, and sets; even the use of lighting feels extra shrewd in many cases. While I think the opening is weak and the leap in tone could have been handled more smoothly, I also definitely think Clair and Pabst are to be commended for constructing such a smart, compelling tale. If uneven as it presents, the jolting transition from early gaiety to the final destination of the plot is part and parcel of what makes the feature so worthwhile. Slight but unmistakable signs point to the path it will take, and underhanded themes reveal themselves of gender dynamics, violence against women, men's sense of entitlement to women, and so on. And with such tremendous work poured into the title from pretty much every other angle - acting, direction, cinematography, all the craftsmanship from behind the scenes - the narrative is realized with thrumming, impactful vitality that's deeply gratifying.
This has problems that regrettably hold it back, and I want to like it more than I do. It says so much about how sharp every contribution is, however, that despite its flaws I can only sit back and think of how much I love 'Prix de beauté.' The issues that present leave a mark, but they certainly don't severely dampen the viewing experience, and the value this represents far outshines the disadvantages. I'm rather of the mind that this is just as deserving as most anything one might watch from the early days of talkies, and indisputably has a leg up on no few contemporaries. It may not be an absolute must-see, but whether one is a fan of someone involved or just looking for a good movie, I'm very pleased with just how absorbing and rewarding 'Prix de beauté' is, and it earns a solid recommendation for one and all.
One of Brooks' great qualities as an actress was her deft nuance and natural body language, infusing performances with subtlety that was often lacking in the silent era, and for which she initially received some backlash (the risk of being ahead of her time). We see that trait again here, and the journey of Brooks' facial expressions and body language honestly do at least as much as the dialogue and scene writing, and probably more, to build the narrative as protagonist Lucienne progresses (notably, wittily, given the nickname of "Lulu"). Emphasizing the point: while on a superficial level the plot revolves around beauty pageants, the real core of the movie is in the development of Lucienne as a character, and of her relationships with other characters; the first real glimmer we get of that central thrust is late in the first act, and entirely thanks to Brooks' expressions. It's to the credit of filmmaker Augusto Genina that he seems to have built 'Prix de beauté' with Brooks' skill set in mind, for the best moments of the title stem from the feelings of the characters as the cast ever so tactfully communicate them, a tack that only ever becomes more significant.
I believe everyone gives a swell performance in turn, not least Georges Charlia, but without a doubt it's Brooks who stands out most. This piece may not have the same renown as 'Pandora's box' or 'Diary of a lost girl,' but as far as I'm concerned 24-year old Brooks demonstrates once again and just as surely what a terrific actor she was; I can only reflect how sad it is that her career waned hereafter. Kudos again to Genina as director for shaping this 1930 picture with a mind for finesse, and with a delicate hand, for that unquestionably contributes to its success as outstanding tiny details constitute the beating heart. Why, there are instances here of shot composition that are downright brilliant, and perhaps uncommon at this point in the medium's evolution. And yet Rudolph Maté and Louis Née almost threaten to upstage them all, for their cinematography is possibly the most lush and vibrant aspect of 'Prix de beauté.' The dynamic movement and piercing gaze of the camera's eye is an outstanding highlight at every point, luminosity that shines through even the more dubious examples of Edmond T. Gréville's excitable editing - while at the same time never being so prominent as to get in the way or feel out of place. The film has its faults, but by and large it was crafted with skill, intelligence, and care in distinct and important ways.
Such excellence absolutely extends to the hair and makeup, costume design, and sets; even the use of lighting feels extra shrewd in many cases. While I think the opening is weak and the leap in tone could have been handled more smoothly, I also definitely think Clair and Pabst are to be commended for constructing such a smart, compelling tale. If uneven as it presents, the jolting transition from early gaiety to the final destination of the plot is part and parcel of what makes the feature so worthwhile. Slight but unmistakable signs point to the path it will take, and underhanded themes reveal themselves of gender dynamics, violence against women, men's sense of entitlement to women, and so on. And with such tremendous work poured into the title from pretty much every other angle - acting, direction, cinematography, all the craftsmanship from behind the scenes - the narrative is realized with thrumming, impactful vitality that's deeply gratifying.
This has problems that regrettably hold it back, and I want to like it more than I do. It says so much about how sharp every contribution is, however, that despite its flaws I can only sit back and think of how much I love 'Prix de beauté.' The issues that present leave a mark, but they certainly don't severely dampen the viewing experience, and the value this represents far outshines the disadvantages. I'm rather of the mind that this is just as deserving as most anything one might watch from the early days of talkies, and indisputably has a leg up on no few contemporaries. It may not be an absolute must-see, but whether one is a fan of someone involved or just looking for a good movie, I'm very pleased with just how absorbing and rewarding 'Prix de beauté' is, and it earns a solid recommendation for one and all.