LOST COMET: Louise Brooks, rebel star– burning it up in New York, Los Angeles, Berlin and Paris from 1925 to 1930.
In this setting, LOST COMET functions on several levels.
First, it tells her story and how she finds her own path through the motion picture industry. That she does so with great wit, beauty and passion– is why people like Louise Brooks.
Second, the time and places of the films she makes are right at the double flash points of the change from silent to sound– and the contrast between the studio assembly line system of film production in the USA and the emerging auteur method in Europe.
Both of these aspects turn the screws on the clean, fast paced story of LOST COMET– as Louise Brooks' clash with Paramount is what drives her to G.W. Pabst & Europe, and her refusal to add voice overs to THE CANARY MURDER CASE, is what leads to her undoing in Hollywood.
Third, LOST COMET is not some dated, flickering period piece about silent film– its timely and modern as hell, and if done right– maybe a timeless zen parable, too.
Because in our own time, when people are obsessed with celebrity– LOST COMET cautions that fame and fortune are a heady cocktail– so drink deep, and enjoy it while you can.
But be strong enough to walk away, and not lose your way– or lose yourself in trade.
When she left Europe and G.W. Pabst, he famously said that Louise was just like Lulu– and would end up the same way.
But the truth is, and the truth behind LOST COMET is that she wasn't a liar or a whore– and she could never play that part in real life, even if her own career as an actor depended on it.
If she was, then LOST COMET might end with her doing it with Harry Cohn, on his office desk– so as to have easier access to the Columbia Pictures checkbook in the credenza.
But that she finds her own way and the truth about herself, instead– even if its the way out, and it means she will just be a comet and not a star– that is a story worth sharing.