Those early talkies really do send us to another dimension. What could be seen as technical flaws actually become poetry and reveal a sense and feel of the era. Louise Brooks' presence defies time. Her acting is timeless. Both she and Georges Charlia are very captivating in this story of amour fou. Not as powerful as the two Pabst's films, but still a gem to discover. And the final scene is pure cinema magic.
Like many of these Brooks films, there's a huge pacing problem. I found myself wishing for a much tighter edit, especially during the competition and dance sequences which take FOREVER. But there's something almost magical about the climax. Maybe because it was paired with Philip Glass music for The Hours, but seeing Brooks look on at her screen test, is like the actress acknowledging her legacy. Strangely moving.
Starts like "Menschen am Sonntag" or "The Crowd" and ends like a Mann or a Dassin "noir", with the projection of the myth in and out of the diegetic universe. Although seen on a silent copy, its imagistic power is so dense that the absence of sound didn't bother me that much, with the exception of the final sequence. Louise Brooks was The Woman in cinematic figurative imaginary.