Anita Loos Rediscovered – by Carl Beauchamp and Mary Anita Loos (2003)
Anita Loos Rediscovered – by Carl Beauchamp and Mary Anita Loos (2003)
Anita Loos Rediscovered
Film Treatments and Fiction
Edited and Annotated by Carl Beauchamp and Mary Anita Loos
UNIVERSITY OF CALIFORNIA PRESS
Berkeley Los Angeles London 2003
ANITA LOOS (1888-1981) was one of Hollywood’s most respected and prolific screenwriters, as well as an acclaimed novelist and playwright. This unique collection of previously unpublished film treatments, short stories, and one -act plays spans fifty years of her creative writing and showcases the breadth and depth of her talent. Beginning in 1912 with the stories she sent from her San Diego home to D.W. Griffith, through her collaboration years later with Colette on the play Gigi, Anita Loos wrote almost every day for the screen or stage, or for book or magazine publication. The list of stars for whom she created unforgettable roles includes Mary Pickford, Jean Harlow, Clark Gable, Audrey Hepburn, and Carol Channing.
Stories from San Diego 1888 – 1915
The New York Hat gave a struggling painter named Lionel Barrymore his first starring role in pictures. It also featured Lillian Gish and her sister, Dorothy, as extras and was the last film Mary Pickford made for D. W. Griffith before she was lured away for twice the salary by another studio. And for Anita Loos it was the first of over fifty stories she would sell over the next two years from her home in San Diego. As Anita retold the story in later years, she got younger with each version, and some printed reports have her starting her professional writing career at the age of twelve. In reality Anita Loos was twenty-four years old when she sold her first story in 1912.
Return to Hollywood, 1931 – 1944
I only heard the sound of the waves, and I felt like I was in the midst of a bad dream.
Gently she started walking again.
“It goes back to the day I met him. Mr. Griffith, yes that’s what all of us from Lillian Gish to his cameraman, Billy Bitzer, called him, decided to give a little class to his studio by hiring a director from the theater. He was John Emerson, and Mr. Griffith himself brought him to my tacky little story editor’s office and explained that Mr. Emerson was a Broadway actor and director who was considering joining the group. ‘”He looked through the files and laughed at my purchases of your stories,'” Mr. Griffith said. “‘And laughed again when I told him that
they were too witty for words, but he enjoyed reading them.’ “John looked at me with surprise,” Anita went on. “Again, my damned tiny figure was against me. . . .”
She paused a moment. She walked on, and so did I.
“He took my hand and held it. And you know what happened? This handsome man took me under his wing. John asked me, a nobody, to work with him. And we worked successfully. I can tell you, a director can misuse your story and spoil it. John never let me down with what I wrote.”
New York at last, 1944 – 1981
Another Hollywood veteran who kept up a busy pace in New York was Lillian Gish, and she and Anita often went to films together. They particularly enjoyed the retrospective screenings at the Museum of Modern Art, and Mary Lea Bandy, current director of the MOMA film department, says, “They were such fixtures going in and out that everyone just took them for granted. Can you imagine?” Jim Frasher, Lillian Gish’s manager for the last thirty years of her life, looks back fondly on how Anita and Lillian enjoyed each other’s company. “I remember one day we had a long drive and Anita regaled us with raucous tales of who was doing what to whom. As soon as we de livered Anita to her apartment, Lillian turned to me and said, in no uncertain terms, ‘Now you must never repeat those stories to anyone.’ I was crushed of course so I asked her, ‘Are [the] stories not true?’ ‘Oh the stories are accurate enough,’ Lillian replied. ‘It’s the people she gets wrong.'” Jim still harbors the suspicion that the stories were deadly accurate on all counts, but what Lillian said still goes. “And whether or not they were true,” he adds, “Anita was a wonderful story teller.””
Thank you. Yes I was an extra in The New York Hat, and my sister was too. And she should be here now because she got all the wit and comedy in our family, and they always said that I was about as funny as a baby’s open brain . . . [end of sentence obscured by laughter]. I never had the privilege of working with you. You wrote The New York Hat but didn’t come into the company until a year or two later. We had never had anyone writing stories, and then in tame this httle thing with a brain hke a man. I was frightened of her. I kept my mouth shut every time she was around, but I hstened and at the time, having never gone to school, I was reading Spinoza, a great philosopher, and Shakespeare, if you remember, and her mind was so sharp that I called her Mrs. Spinoza, not to her but to other people. That became a kind of comic word for this little, dark-eyed pretty thing that had this very brilliant, comedic brain. Anyway, pretty soon John Emerson came into the company, and he was directing my sister in Old Heidelberg. I think she was about fourteen, and she played it with her hair braided on each side and no makeup. In the love scene John Emerson told her she should kiss the prince. And she said, “We don’t do that in this company,” and he said, “Well, this is a love story and you’re going to do it in this picture.” Well, she got very cross and went in to see Daddy Woods. He was a white-haired man that we took all our troubles to when any arguments came up, and she said, “Mr. Emerson has asked me to kiss an actor and you know we’re not allowed to kiss actors in this company. We don’t kiss them because we might get a disease.” So the whole company took sides for or against Mr. Emerson, and we had quite a battle. Finally Mr. Emerson had the principal’s wife call my mother and say, “Your daughter is perfectly safe kissing my husband.” So she lost the battle. That’s one of the things that brought me here because, of course, Anita later married John Emerson. And when she wrote Gentlemen Prefer Blondes, oh, I wanted to get up the courage to ask, “Who were the gentlemen and who were the blondes?” Because I heard she had people in her mind, and I would have loved to know, but I never got up the courage to ask her. And Anita, I’d still like to know. Thank you.
Gish and Davis: Could the Two Work Together? – By Mike Kaplan (The New York Times – 1993) FILM; Gish and Davis: Could the Two Work Together? By Mike Kaplan The New York Times – April 18, 1993 When “The Whales of August” was filmed in 1986, the story of the relationship between two elderly sisters brought together two of the screen’s most enduring stars, Lillian Gish and Bette Davis. Miss Gish, who died Feb. 27 at the age of 99, will be remembered on Thursday at the Museum of Modern Art with a program called “In Memoriam.” It will include “The Whales of August,” her final film, directed by Lindsay Anderson, as well as her first, D. W. Griffith’s “Unseen Enemy” (1912). Here, Mike Kaplan, who co-produced “The Whales of August,” reflects on the interaction of its two stars. Bette Davis and Lillian Gish – The Whales of August, 1987 In the tributes to Lillian Gish that followed her death, references to her final starring role in “The Whales of August” were always glowing. B
The Movie Magazines and Lillian Gish … The moving Picture World 1914 detail The moving Picture World 1914 The moving Picture World 1914 detail Moving Picture World, November 21, 1914 Her Awakening – Lillian Gish The Angel of Contention Poster The moving Picture World – Mutual Program – A Question of Courage names wrong Lillian Gish And Dorothy The moving Picture World – Mutual Program – The Sisters The Birth of a Nation (David W. Griffith Corp., 1915). Herald2 Sold for Marriage Triangle Plays Program 1916 lillian_gish_photoplay_1917 08 ID Photo Back to Lillian Gish Home page Photoplay, August, 1918 – Dorothy and Lillian Gish in their dressing room Lillian Gish Photoplay August 1918 Lillian Gish Photoplay February 1919 Lillian Gish Photoplay, July, 1919 Back to Lillian Gish Home page Lillian Gish Photoplay October 1920 Orphans of The Storm Prog Herald 1921 Lillian Gish 1921 – The Girl Back Home Motion Picture Classic Magazine (Brewster, 1921) The Lily Maid from Ohio Ph
When Mamaroneck Upstaged Hollywood – By Bruce Berman (The New York Times – June 19, 1977) When Mamaroneck Upstaged Hollywood By Bruce Berman The New York Times – June 19, 1977 BACK in the early 1920’s when Mamaroneck was a center of movie‐making, Joseph Rigano was an employee of D.W. Grif fith’s studio at Orienta. “I was atone mason and mechanic,” the energetic 80year‐old said as we toured on foot Edgewater Point, at the top of the Orienta Peninsula. Griffith Studios, Orienta Point, Mamaroneck NY 1921 “After the studio was finally built, Mr. Griffith asked me to stay on as a set builder. Stone fireplaces were my specialty, but I worked on everything from Gothic walls to painted desert backdrops. The actors were almost always friendly, and I was getting $55 a week and drove a $1,200 Buick. What more could a young man desire?” DW Griffith filming team – Mamaroneck NY – Way Down East In those days the area was less the “East Coast Hollywood” than Hollywood was “the West Co