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Pandora's Box (1929)

Die Büchse der Pandora (original title)
Not Rated | | Crime, Drama, Romance | 22 February 1930 (Japan)
The rise and inevitable fall of an amoral but naive young woman whose insouciant eroticism inspires lust and violence in those around her.


Frank Wedekind (plays), Ladislaus Vajda (scenario)

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1 nomination. See more awards »


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Director: Vsevolod Pudovkin
Stars: I. Inkizhinov, I. Dedintsev, Valéry Inkijinoff


Complete credited cast:
Louise Brooks ... Lulu
Fritz Kortner ... Dr. Ludwig Schön
Francis Lederer ... Alwa Schön (as Franz Lederer)
Carl Goetz Carl Goetz ... Schigolch
Krafft-Raschig Krafft-Raschig ... Rodrigo Quast
Alice Roberts Alice Roberts ... Gräfin Geschwitz - Countess Anna Geschwitz
Daisy D'Ora Daisy D'Ora ... Charlotte Marie Adelaide v. Zarnikow - braut Dr. Schöns - Dr. Schön's Bride (as Daisy d'Ora)
Gustav Diessl ... Jack the Ripper (as Gustav Diesel)
Michael von Newlinsky ... Marquis Casti-Piani (as Michael v. Newlinsky)
Sig Arno ... Der inspizient - the Stage Manager (as Siegfried Arno)


Lulu is a beautiful young woman who can seemingly work her charms on all of the men around her. She is currently being kept by the rich editor Dr. Ludwig Schön. She is just a plaything however and he is engaged to be married to Charlotte, a woman of his own class. He arranges for Lulu to appear in his son Alwa's musical revue and he too falls for all of her charms. When Dr. Schön and his fiancée go to the theater, Lulu ensures that he is put in a compromising situation and the elder Schön feels he now must marry her, knowing full well it will ruin his reputation. On his wedding day, Dr. Schön reaches his breaking point. His actions cost him his life however and Lulu is convicted of manslaughter. She escapes with the help of her old cronies but together they begin a downward spiral. Written by garykmcd

Plot Summary | Plot Synopsis


Crime | Drama | Romance


Not Rated | See all certifications »






Release Date:

22 February 1930 (Japan) See more »

Also Known As:

Pandora's Box See more »


Box Office

Opening Weekend USA:

$9,950, 18 June 2006

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

Production Co:

Nero-Film AG See more »
Show more on IMDbPro »

Technical Specs


(restored) | (Copy with French titles at Brussels Musée du Cinéma) | (original) | (video) | (2018) (restored)

Sound Mix:


Aspect Ratio:

1.33 : 1
See full technical specs »

Did You Know?


The 5,000 marks Alwa pays to the Marquis Casti-Piani on the train to keep quiet would equate to about $1,200 at the time or roughly $17,700 in 2019. See more »


[All goofs for this title are spoilers.] See more »


Dr. Ludwig Schön: Take it! Kill yourself!
See more »

Alternate Versions

Georg Wilhelm Pabst commented with irony the changes imposed by foreign censors and distributors: "I do not know why someone thought useful to substitute Doctor Schoen's son, Alva Schoen, by an assistant, mark Heding; or why Frank Wedekind the play-writer who is not exactly unknown in France, was renamed Thoma Wedering. I do not know why Loulou is acquitted in the French version, while she is condemned in mine; or why the so important sequence of Jack the Ripper was cut, which gives the film a ridiculous moralistic end. It is not surprising that the nature of my characters have been completely changed... I would at least hope that one would have shown the film as I have created it, to professionals, so that they could evaluate it. They did not want to do it. So many efforts wasted for nothing. They wield the scissors... When will be rid of this plague?" (Source: Pour Vous, Paris magazine, May 2, 1929, quoted by Adonis Kyrou in "Amour-Erotisme & Cinéma", 1957.) See more »


Featured in Madness: My Girl 2 (2012) See more »

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User Reviews

Fatale beauté
12 October 2011 | by chaos-rampantSee all my reviews

Lulu is a social butterfly out for a good time, a femme who is fatale but only because the men lust after her so fiercely.

Normally in film noir the femme fatale appears to us not so much a human being but an agent, a catalyst of some dangerous illusion. She is the wet dream from the private dick's perspective, desire personified. Hollywood probably took this up from Dietrich's persona in another German film, Blue Angel from the following year, the heartless diva who presents herself in a way that will satisfy her capricious whims.

This is different though, and it is more stunning for this, the trick being that we see the world from the eyes of an innocent woman as she becomes shaped into a femme fatale. She is forced into the role and eventually plays it to perfection. The very fact that she is beautiful and sexy turns her into that prize that men would do anything to have. Film noir as we came to know it was about all these desperate efforts.

It is still however film noir in the most incisive, essential way. Dual worlds linked by the turning of karmic wheels; from inside a cheerful, innocent woman who we know to be basically good and trying to live life, but who at the same time appears provocative, alluring, exuding sex, and therefore by her very nature, by the fact that she is the person she was born to be, seems to lull men into the kind of stupor where they can dream only her, a dream so intoxicating that in turn traps her in her image.

The result is that she inhabits a different world than she weaves around her and, almost without exception, it's the jerk from one world to the other that yields the anxieties - from the private to the public, where a person is no longer himself but only the sum total of other peoples' views, and so an object of collective scrutiny or, as in our case, sexual paroxysm.

So from her end life as a series of spontaneous, often inexplicable 'nows' but which we understand to be structured around her and unwittingly powered by herself. But from the other end life organized, and from their own ends again seemingly spontaneous, with the sole intent of having her. Men suddenly crave her - they don't know why, she doesn't - and will do anything, but who she also provokes without realizing, by simply being herself.

This dual perspective that reverberates across the film, as much about the woman herself as both temptress and angelic swan, she can fit in both these roles as well as she actively pursues them, as about the swarm of men who surround her, at first pretending moral uprightness but finally more or less powerless before her charms, is ingeniously rendered in two scenes in particular.

The first is set at the courthouse where she's at trial for murder; upon being pronounced guilty, her admirers quickly stage a commotion by setting off a fire alarm that allows them to extricate her. From the outside a chance emergency, the crowd dashing, clamoring, pushing for the exit, and from her end as well, unwitting, dumbfounded, in the middle of all this crowd being carried outside, but which we know was all orchestrated by the men who'd like to have her. Of course the fire alarm is about the fires of desire.

The other is at a bar or gambling house where she has fled and is hiding for safety. A reward out on her name, various parties conspire to exploit the situation for a quick dime. Here, it is she who is spinning the most dazzling web of deceit - now improvising the role of the femme fatale on the spot, but out of pressing need. The most revealing game concocted by her: she petitions a man to gamble for her fortunes on a card table. He is winning, but of course is revealed that he was cheating all along.

It ends with all these lives finally released from the grip of the karmic energies that have clasped them so tightly, the self- instructed destinies, each according to his own decree. The man who wishes he could eat Christmas pudding one more time gets to.

Pabst orchestrates the finale as a dance of symbolic gestures; the most symbolic perhaps being that the woman had a heart of gold all along. We may had our doubts because she mingled with money, but now we know. The man doesn't to the end, this is the saddest destiny here. Of course at the cost of ever having her.

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