Pandora's Box
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Synopsis
One of the masters of early German cinema, G. W. Pabst seemed to have an innate talent for discovering actresses. And perhaps none of his female stars shone brighter than Kansas native and onetime Ziegfeld girl Louise Brooks, whose legendary persona was defined by Pabst’s lurid, controversial melodrama Pandora’s Box. Sensationally modern, the film follows the downward spiral of the fiery, brash, yet innocent showgirl Lulu, whose sexual vivacity has a devastating effect on everyone around her. Daring and stylish, Pandora’s Box is one of silent cinema’s great masterworks and a testament to Brooks’s dazzling individuality.
Picture 8/10
Criterion returns G.W. Pabst’s Pandora’s Box to the collection, presenting the film on a dual-layer Blu-ray disc in its original 1.33:1 aspect ratio. The 1080p/24hz high-definition transfer comes from a new 2K restoration assembled from prints stored in France, Russia, and Prague.
With the original negatives long lost, the restoration relied on prints duplicated in the 1950s and 1960s. An opening note acknowledges the limitations of these sources, cautioning viewers about the resultant quality. While the disclaimer is understandable, it undersells the results: this restoration looks remarkable. Admittedly, there are moments where the image appears soft or dupey, and scratches and other marks are frequent if unobtrusive. However, the presentation shines more often than not, offering a sharp and detailed image that captures textures and fine details beautifully. The grayscale exhibits impressive range, with deep blacks and luminous whites anchoring things. While some scenes lean darker or slightly overexposed compared to others, the overall balance is impressive, and the restoration vastly improves upon Criterion’s already commendable (for the time) DVD release.
The encode complements the restoration, with a clean digital presentation that handles grain naturally, resulting in a pleasingly film-like texture. Minor banding is noticeable in a few scenes but never distracts. Despite the inherent source limitations, Criterion’s resulting effort solid, delivering Pandora’s Box in a presentation that exceeds expectations.
Audio 8/10
Criterion includes four scores for Pandora’s Box, all presented in lossless PCM stereo: a traditional orchestral score by Gillian Anderson, a Cabaret-style score reminiscent of the era by Dimitar Pentchev, a "modern orchestral" piece by Peer Raben (a frequent collaborator of Rainer Werner Fassbinder), and an improvisational piano accompaniment by Stéphan Oliva, designed to evoke the live piano performances often heard in smaller theaters of the time.
While I tend to stick with Anderson’s score when watching, all four bring something unique to the film, offering distinct interpretations that can alter the tone of certain scenes or elicit different emotional reactions. Ultimately, the choice will come down to personal preference, but each score is presented with excellent clarity, wide dynamic range, and impressive fidelity, making any selection a satisfying one.
Extras 9/10
Criterion ports over all the supplements from their 2006 DVD edition of Pandora’s Box, starting with an audio commentary featuring film scholars Thomas Elsaesser and Mary Ann Doane. Recorded together, the two alternate between solo observations and conversational exchanges, delving into the film’s production, legacy, and the careers of its director, G.W. Pabst, and star, Louise Brooks. They explore the film within its historical context—just as sound was emerging—highlighting its distinct visual language and how it stood apart from its contemporaries. The commentary also unpacks the complex nature of the lead character, Lulu, as both a victim and “agent of chaos,” touching on dated aspects of the film while acknowledging themes that remain surprisingly (and sadly) relevant. Additionally, the track examines the film’s initial box-office failure and eventual rediscovery. It's still a very "academic" track, but the two keep the conversation going at a wonderful pace, and it still holds up rather well.
The set also includes the 1998 TCM-produced documentary Louise Brooks: Looking for Lulu. Running 60 minutes, the feature offers a comprehensive overview of Brooks’ life and career, from her time as a Paramount starlet to her move to Germany, where Pabst cast her as Lulu. It then examines her descent into obscurity—partially due to disputes with Paramount—and her later rediscovery alongside Pandora’s Box. Despite some dated production elements, the documentary is an excellent portrait of Brooks, featuring film clips, interviews with scholars, and anecdotes from those who knew her, including her niece. The highlight is archival footage from a 1971 interview with Brooks herself, where she recounts stories from the film’s production and reflects on her acting style.
The full 48-minute 1971 interview, conducted by Richard Leacock and Susan Steinberg, is also included as a separate feature. Brooks speaks candidly about her upbringing, early career, and move to Berlin, sharing stories about working with Pabst. While she occasionally avoids certain topics, her openness and self-reflection—particularly about her insecurities and tendency to compare herself to others—make for a captivating conversation. A brief five-minute interview with Leacock is also included, where he recounts the challenges of persuading Brooks to participate.
Another highlight is a 34-minute interview with George Pabst, the director’s son, who provides insight into his father’s career, political beliefs (noting his leftist sympathies), and personal life. He also discusses Pandora’s Box and the original play it’s based on, explaining how his father navigated censorship challenges in adapting the story for film.
Rounding out the disc is a trailer for the new restoration, along with the inclusion of Criterion’s thick 92-page booklet from the original DVD release. The booklet features J. Hoberman’s essay on the film, notes on the included scores, and Kenneth Tynan’s 1979 New Yorker article “The Girl in the Black Helmet,” a detailed deep dive into Brooks’ life and career. The package concludes with a 1965 essay by Brooks herself, recounting her experience working with Pabst. It remains one of Criterion’s most impressive booklets, and its inclusion here is a very welcome carryover.
While a new feature on the restoration process would have been appreciated, this remains a comprehensive package. The supplements are all worth revisiting—or exploring for the first time.
Closing
A solid upgrade from Criterion’s out-of-print DVD, this edition features an impressive restoration and digital presentation, complemented by the same excellent batch of supplements carried over from the previous release.
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