Bruce Loeb on Piano Preceded by short: Rennsymphonie (Race Symphony) (Hans Richter, Germany, 1928). Rennsymphonie is an explosively cut impressionistic sketch about horse racing reflecting an image of European society at play in the late 1920s. (5 mins, Silent, B&W, 16mm, From Museum of Modern Art) (Die Buechse der Pandora). All film faces are two-way mirrors, as director G. W. Pabst must have known. In Pandora's Box, Louise Brooks's impassive, enigmatic visage is a wide-eyed reflecting pool for the sexual depravity that her beauty seems to inspire and that, in the end, haunts her. The key to Brooks's Lulu is the artless amorality with which she destroys all who come under her spell; her indifference is at once distancing and magnetic, qualities Pabst used ingeniously in this film which is a masterpiece of atmosphere, camera movement, and editing. In the most glowing scene, amid the feverish, shimmering sensuality of the backstage bustle, Brooks emerges (as Lotte Eisner has written) "like some pagan idol," throwing the background out of focus, perhaps because the whole of the film is contained in that face.