American films[ edit ] Brooks made her screen debut in the silent The Street of Forgotten Men , in an uncredited role in Soon, however, she was playing the female lead in a number of silent light comedies and flapper films over the next few years, starring with Adolphe Menjou and W. Fields , among others. Brooks had an on-and-off affair with Walter Wanger , head of Paramount Pictures , and after her small roles in , both Paramount and MGM offered her contracts.
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While she was a bright student who made good grades in subjects she was interested in, she became bored with school routine almost as soon as the novelty of being in class with a lot of boys and girls wore off, and she would wait impatiently for recess, when more important subjects than school work could be discussed. She enjoyed the excitement that came with the periodic fire drills, and at home she suddenly began to find excuses for not plunging eagerly into performing assigned chores the way Barbara did. Bryant chided her gently, seeing in her youngest daughter the early signs of development of characteristics that had made Hugh Mohan the glamorous husband she had loved so passionately. She had an uneasy feeling about her pretty young daughter's future, but not the slightest premonition of the despair and heartbreak that would be hers and Sheridan's when her daughter's career became almost indistinguishable from one that Hugh Mohan might have followed was he alive. During the first half of her second term, Louise began the practice of trying to banish boredom by losing herself in daydreams during class hours - drifting off into reveries where life was exciting and romantic, where difficulties mellowed and problems became easy to overcome, no matter what they were. It was the gene sis of the schizophrenia that would ultimately destroy her.
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By the time she was four years of age, her parents had divorced. Tina's father, Joseph Blacker, was a candy store owner in Brooklyn   and later an accountant. He selected the name "Louise" and it stuck. She played numerous roles until she decided it was best to focus on school work.
Even as an elderly woman, Brooks toyed with sensuality, boasting to Kenneth Tynan that she could still ejaculate clear across a room, 1 but annihilation was her real passion. She connected sex and death better than any other screen actress. At her centenary this year, her image remains as biting, sensual, and provoking as ever. When she made her films in the roaring twenties, Brooks was at best a second-tier star, at worst a nonentity. Yet she is better known today than Mary Pickford, Lillian Gish, Gloria Swanson, and many other silent heavyweights; her failure has lasted much longer than their success.