Category: When Women Wrote Hollywood

When Women Wrote Hollywood: The Movies – First in a series – Fanchon, the Cricket by Frances Marion

An on-going series highlighting the women screenwriters of early Hollywood.

When I was first asked to create a history course for a new MFA focused on the mission of bringing more female voices and female-centric stories to Hollywood, I knew we had to start at the very beginning, when women ran Hollywood. No other course I had ever taken or been asked to teach focused on these women, some of whom I had been reading about since the summers of my childhood in Cleveland, Ohio. Back then, I went to the library once a week to collect a stack of memoirs by women I had seen interviewed on The Merv Griffin Show, women like Anita Loos and Adela Rogers St. Johns. Their stories introduced me to moguls like Louis B. Mayer or Jack Warner, who make up most of the history courses I later found in academia. Knowing better, I found most of those courses, and their accompanying textbooks, glossed over these women with a paragraph if they mentioned them at all. I conceived a course that would begin with these women who began Hollywood and culminate in research by each graduate student into the life and career of one particular early female screenwriter. That is what you find here. A collection of herstories about how these women lived, loved and created the stories that gave their audiences reasons to live and love in their own lives. — Dr. Rosanne Welch, Editor. When Women Wrote Hollywood

When Women Wrote Hollywood: The Movies - First in a series - Fanchon, the Cricket by Frances Marion

Fanchon, the Cricket (1915) - 1.jpg
By Paramount Pictures – Variety (Apr. 1915) on the Internet Archive, Public Domain, Link

Fanchon, the Cricket is a 1915 American silent drama film produced by Famous Players Film Company and distributed by Paramount Pictures. It is based on a novel, La Petite Fadette by George Sand. It was directed by James Kirkwood and stars Mary Pickford, now working for Adolph Zukor and Daniel Frohman. A previous film version of the story was released in 1912 by IMP (later Universal) and directed by Herbert Brenon.[1] — Wikipedia

Frances Marion(bornMarion Benson Owens, November 18, 1888[1]– May 12, 1973) was an American screenwriter, journalist, author, and film director, often cited as one of the most renowned female screenwriters of the 20th century alongsideJune MathisandAnita Loos. During the course of her career, she wrote over 325 scripts.[2]She was the first writer to win twoAcademy Awards. Marion began her film career working for filmmakerLois Weber. She wrote numeroussilent filmscenarios for actressMary Pickford, before transitioning to writingsound films. — Wikipedia

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† When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry†

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Related posts:

  1. From The “When Women Wrote Hollywood” Archives 27: Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood—1896–1930 by Donna R. Casella
  2. From The “When Women Wrote Hollywood Archives 31: Marion Fairfax, Exhibitors Herald, 17 April 1922.
  3. 34 More On Frances Goodrich & Albert Hackett – “When Women Wrote Hollywood” with Dr. Rosanne Welch [Video] (1 minute 10 seconds)
  4. From The “When Women Wrote Hollywood” Archives 17: After the Thin Man. Wrs: Frances Goodrich, Albert Hackett, and Dashiell Hammett. Dir: Van Dyke W. S. Metro-Goldwyn-Mayer, 1936, USA 112 mins.
  5. From The “When Women Wrote Hollywood” Archives 25 : Garson Kanin, a Writer and Director of Classic Movies and Plays, Is Dead at 86

From The “When Women Wrote Hollywood Archives 35: The Collected Lorna Moon

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The

 

For the first time, The Collected Lorna Moon brings together her much acclaimed novel Dark Star, collected short stories Doorways in Drumorty, and a selection of her previously unpublished letters and poetry to offer a fresh perspective on this unusual woman: a woman who travelled a long distance from Scotland and yet, imaginatively, took Scotland with her and re-fashioned the experiences of her early years. The life story of Lorna Moon from her escape from Scotland, a series of romantic adventures, to a career as a script writer in the early days of Hollywood, presents the wildest challenge to our expectations for a woman in rural Scotland in the early twentieth century. Her writing, in equally dramatic fashion, takes the conventional subject of Scottish small-town life, and reshapes it through a combination of satirical analysis and melodramatic romance that no other writer from the north-east has achieved. The Collected Lorna Moon is an enchanting collection, edited and introduced by Glenda Norquay, scholar of Scottish fiction and featuring a foreword by Richard de Mille, the illegitimate son of Lorna Moon and Hollywood director Cecil B. de Mille’s son William, in order to provide insight into the life of an extraordinary woman.  — Amazon

Buy “When Women Wrote Hollywood” Today!

† When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry†

Paperback Edition | Kindle Edition | Google Play Edition

Help Support Local Bookstores — Buy at Bookshop.org

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

Related posts:

  1. From The “When Women Wrote Hollywood” Archives 14: My Secret Mother: Lorna Moon by Richard de Mille
  2. From The “When Women Wrote Hollywood” Archives 26: Adela St. Johns, . The Honeycomb. Garden City, N.Y.: Doubleday, 1969.
  3. From The “When Women Wrote Hollywood Archives 34: Women Filmmakers in Early Hollywood by Karen Ward Mahar
  4. From The “When Women Wrote Hollywood” Archives 27: Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood—1896–1930 by Donna R. Casella
  5. From The “When Women Wrote Hollywood Archives 33: “Elinor Glyn.”, Denise Cummings , Women Film Pioneers Project. Columbia University

From The “When Women Wrote Hollywood Archives 34: Women Filmmakers in Early Hollywood by Karen Ward Mahar

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The “When Women Wrote Hollywood Archives 34: Women Filmmakers in Early Hollywood by Karen Ward Mahar

From The

 

Women Filmmakers in Early Hollywood explores when, how, and why women were accepted as filmmakers in the 1910s and why, by the 1920s, those opportunities had disappeared. In looking at the early film industry as an industry―a place of work―Mahar not only unravels the mystery of the disappearing female filmmaker but untangles the complicated relationship among gender, work culture, and business within modern industrial organizations.

In the early 1910s, the film industry followed a theatrical model, fostering an egalitarian work culture in which everyone―male and female―helped behind the scenes in a variety of jobs. In this culture women thrived in powerful, creative roles, especially as writers, directors, and producers. By the end of that decade, however, mushrooming star salaries and skyrocketing movie budgets prompted the creation of the studio system. As the movie industry remade itself in the image of a modern American business, the masculinization of filmmaking took root.

Mahar’s study integrates feminist methodologies of examining the gendering of work with thorough historical scholarship of American industry and business culture. Tracing the transformation of the film industry into a legitimate “big business” of the 1920s, and explaining the fate of the female filmmaker during the silent era, Mahar demonstrates how industrial growth and change can unexpectedly open―and close―opportunities for women. — Amazon

Buy “When Women Wrote Hollywood” Today!

† When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry†

Paperback Edition | Kindle Edition | Google Play Edition

Help Support Local Bookstores — Buy at Bookshop.org

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

Related posts:

  1. From The “When Women Wrote Hollywood Archives 30: “Frederica Sagor Maas, 1900 – 2012 on Notebook.” MUBI. David Hudson
  2. From The “When Women Wrote Hollywood” Archives 12: Lois Weber in Early Hollywood by Shelley Stamp
  3. From The “When Women Wrote Hollywood” Archives 27: Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood—1896–1930 by Donna R. Casella
  4. From The “When Women Wrote Hollywood Archives 33: “Elinor Glyn.”, Denise Cummings , Women Film Pioneers Project. Columbia University
  5. From The “When Women Wrote Hollywood” Archives 26: Adela St. Johns, . The Honeycomb. Garden City, N.Y.: Doubleday, 1969.

From The “When Women Wrote Hollywood Archives 33: Blood and Sand. Wr: June Mathis, Dir: Fred Fred Niblo, Paramount Pictures, 1922, USA 80 mins.

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The “When Women Wrote Hollywood Archives 33: Blood and Sand. Wr: June Mathis, Dir: Fred Fred Niblo, Paramount Pictures, 1922, USA 80 mins.

From The

Juan Gallardo (Valentino), a village boy born into poverty, grows up to become one of the greatest matadors in Spain. He marries a friend from his childhood, the beautiful and virtuous Carmen (Lee), but after he achieves fame and fortune he finds himself drawn to Doña Sol (Naldi), a wealthy, seductive widow.

They embark on a torrid affair with sadomasochistic overtones, but Juan, feeling guilty over his betrayal of Carmen, tries to free himself of Doña Sol. Furious at being rejected, she exposes their affair to Carmen and Juan’s mother, seemingly destroying his marriage. Growing more and more miserable and dissipated, Juan becomes reckless in the arena. He is eventually killed in a bullfight but does manage to reconcile with Carmen moments before he dies.

There is also a subplot involving a local outlaw whose career is paralleled to Juan’s throughout the film by the village philosopher: Juan’s fatal injury in the bullring comes moments after the outlaw is shot by the police. — Wikipedia

Buy “When Women Wrote Hollywood” Today!

† When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry†

Paperback Edition | Kindle Edition | Google Play Edition

Help Support Local Bookstores — Buy at Bookshop.org

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

Related posts:

  1. From The “When Women Wrote Hollywood” Archives 11: Ben Hur: A Tale of the Christ. Screenplay. Wr: June Mathis. Dir. Fred Niblo, Metro-Goldwyn-Mayer, 1925 USA 142 mins.
  2. From The “When Women Wrote Hollywood” Archives 17: After the Thin Man. Wrs: Frances Goodrich, Albert Hackett, and Dashiell Hammett. Dir: Van Dyke W. S. Metro-Goldwyn-Mayer, 1936, USA 112 mins.
  3. From The “When Women Wrote Hollywood Archives 31: Marion Fairfax, Exhibitors Herald, 17 April 1922.
  4. When Women Wrote Hollywood – 19 in a series – Blood and Sand starring Rudolph Valentino, Written for the screen by June Mathis
  5. From The “When Women Wrote Hollywood” Archives 27: Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood—1896–1930 by Donna R. Casella

From The “When Women Wrote Hollywood Archives 33: “Elinor Glyn.”, Denise Cummings , Women Film Pioneers Project. Columbia University

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The “When Women Wrote Hollywood Archives 33: “Elinor Glyn.”, Denise Cummings , Women Film Pioneers Project. Columbia University

From The

From The

Perhaps most remembered in the United States for her best-selling 1907 novel of exotic sensuality Three Weeks and her brainchild “It,” that enigmatic characteristic embodied in actress Clara Bow and dramatized in the silent motion picture It (1927), English-born journalist, novelist, screenwriter, and actress Elinor Glyn, born Elinor Sutherland, embarked on her American career in 1920 during her second visit to the United States. In October of 1907, at forty-two, Glyn, traveling as Elinor Glyn, the authoress of romantic fiction, boarded the Lusitania and set sail for New York on her first American tour in order to promote Three Weeks. According to her British biographer, Joan Hardwick, “the reception of Three Weeks in the States had renewed [Glyn’s] confidence and she decided to try her hand at dramatizing it” (133). Before that version materialized, however, Glyn returned to England, but only after lengthening her stay with a journey by rail through the American West to California. Her 1907 tour of the United States and her introduction to American culture and way of life may very well have laid the fertile groundwork for her 1920 return and subsequent work as writer, director, producer, and actress in Hollywood.

Read More

Buy “When Women Wrote Hollywood” Today!

† When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry†

Paperback Edition | Kindle Edition | Google Play Edition

Help Support Local Bookstores — Buy at Bookshop.org

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

Related posts:

  1. From The “When Women Wrote Hollywood” Archives 16: “Ida May Park.” Women Film Pioneers Project. Center for Digital Research and Scholarship, 27 Sept. 2013
  2. From The “When Women Wrote Hollywood” Archives 10: Elinor Glyn as Novelist, Moviemaker, Glamour Icon and Businesswoman by Vincent L. Barnett
  3. From The “When Women Wrote Hollywood Archives 29: Eighty Odd Years in Hollywood: Memoir of a Career in Film and Television by John Meredyth Lucas
  4. From The “When Women Wrote Hollywood” Archives 27: Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood—1896–1930 by Donna R. Casella
  5. From The “When Women Wrote Hollywood” Archives 21: The Progressive Silent Film List

From The “When Women Wrote Hollywood Archives 32: The Writers: A History of American Screenwriters and Their Guild by Miranda J Banks

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The “When Women Wrote Hollywood Archives 32: The Writers: A History of American Screenwriters and Their Guild by Miranda J Banks

From The

Screenwriters are storytellers and dream builders. They forge new worlds and beings, bringing them to life through storylines and idiosyncratic details. Yet up until now, no one has told the story of these creative and indispensable artists. The Writers is the only comprehensive qualitative analysis of the history of writers and writing in the film, television, and streaming media industries in America.

Featuring in-depth interviews with over fifty writers–including Mel Brooks, Norman Lear, Carl Reiner, and Frank Pierson–The Writers delivers a compelling, behind-the-scenes look at the role and rights of writers in Hollywood and New York over the past century. Granted unprecedented access to the archives of the Writers Guild Foundation, Miranda J. Banks also mines over 100 never-before-published oral histories with legends such as Nora Ephron and Ring Lardner Jr., whose insight and humor provide a window onto the enduring priorities, policies, and practices of the Writers Guild.

With an ear for the language of storytellers, Banks deftly analyzes watershed moments in the industry: the advent of sound, World War II, the blacklist, ascension of television, the American New Wave, the rise and fall of VHS and DVD, and the boom of streaming media. The Writers spans historical and contemporary moments, and draws upon American cultural history, film and television scholarship and the passionate politics of labor and management. Published on the sixtieth anniversary of the formation of the Writers Guild of America, this book tells the story of the triumphs and struggles of these vociferous and contentious hero-makers.

Buy “When Women Wrote Hollywood” Today!

† When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry†

Paperback Edition | Kindle Edition | Google Play Edition

Help Support Local Bookstores — Buy at Bookshop.org

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

Related posts:

  1. From The “When Women Wrote Hollywood Archives 30: “Frederica Sagor Maas, 1900 – 2012 on Notebook.” MUBI. David Hudson
  2. From The “When Women Wrote Hollywood” Archives 27: Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood—1896–1930 by Donna R. Casella
  3. From The “When Women Wrote Hollywood” Archives 26: Adela St. Johns, . The Honeycomb. Garden City, N.Y.: Doubleday, 1969.
  4. From The “When Women Wrote Hollywood Archives 29: Eighty Odd Years in Hollywood: Memoir of a Career in Film and Television by John Meredyth Lucas
  5. From The “When Women Wrote Hollywood Archives 31: Marion Fairfax, Exhibitors Herald, 17 April 1922.

From The “When Women Wrote Hollywood Archives 31: Marion Fairfax, Exhibitors Herald, 17 April 1922.

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The “When Women Wrote Hollywood Archives 31: Marion Fairfax, Exhibitor’s Herald. Exhibitors Herald, 15 April 1922.

From The

From The

From The

Buy “When Women Wrote Hollywood” Today!

† When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry†

Paperback Edition | Kindle Edition | Google Play Edition

Help Support Local Bookstores — Buy at Bookshop.org

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

Related posts:

  1. From The “When Women Wrote Hollywood” Archives 16: “Ida May Park.” Women Film Pioneers Project. Center for Digital Research and Scholarship, 27 Sept. 2013
  2. From The “When Women Wrote Hollywood” Archives 08: Marion Fairfax: “Algerian Village Erected for Desert Healer.” Motion Picture News. Motion Picture News, 15 March 1926
  3. From The “When Women Wrote Hollywood” Archives 27: Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood—1896–1930 by Donna R. Casella
  4. From The “When Women Wrote Hollywood Archives 29: Eighty Odd Years in Hollywood: Memoir of a Career in Film and Television by John Meredyth Lucas
  5. From The “When Women Wrote Hollywood” Archives 26: Adela St. Johns, . The Honeycomb. Garden City, N.Y.: Doubleday, 1969.

Text of Rosanne’s Keynote at 10th Screenwriter Stories Seminar: Screenplay-X at the Université Presbytériènne Mackenzie in São Paulo, Brazil.

I’m happy to post this ebook of papers presented at the10th Screenwriter Stories Seminar: Screenplay-X at the Université Presbytériènne Mackenzie in São Paulo, Brazil. 

Screenplay-X at the Université Presbytériènne Mackenzie in São Paulo, Brazil.

I gave the opening lecture entitled, “Why Researching Screenwriters (has Always) Mattered” which appears here in English, though the rest of the papers (naturally) are in Portuguese.  It was an honor to be asked to do the lecture and privilege to spend time with Professor Glaucia Davino and her students who made me feel very welcome in their city.

Words matter. Writers matter and women writers matter in this world. It is important to consider writers because the word writer comes before the word director when you describe a filmmaker who can do two things. They are writer-directors, they are not director-writers. That tells us something. The vision of a movie cannot exist without the screenplay. A director cannot direct nothing. There must be an idea. There must be a philosophy. There must be a theme. There must be a story. This proves that the writer is of equal importance. We must remember writers have to be equal partners and I think we realize that without realizing it. When people talk about movies to their friends they don’t say “I loved the camera angle in scene 7.” They quote dialogue from their favorite movies whether they are from a Pixar film or a Disney one, they quote the dialogue and that is the work of the writer. That’s the person who should be given credit, yet often at the start a class I ask students to list their two or three favorite films, who directed those films and who wrote that film. They very often cannot name the person who wrote the film they claim to adore. How can you study to be a writer if you don’t remember writers yourself? Hence the reason to study Screenwriting. Hence researching screenwriters has always mattered.

When actors Frances McDormand won her Oscar for Three Billboards Outside Ebbing Missouri she said of the screenwriter Martin McDonagh, “He did not sketch a blueprint. That’s an insult to a screenplay. He didn’t string together a few words. He wrote, meticulously crafted, a tsunami, and then he allowed his troupe of actors to surf it into the shore.” (https://www.hollywoodreporter.com/news/sag-awards-three-billboards-takes-top-honors-at-a-show-women-took-center-stage-1076726) She credited the writer in a way that many people do not.

Stories – and therefore screenplays and therefore screenwriters — are important because they transmit culture around the world. The United States has had a corner on that market for far too many years but now we’re beginning to see other stories permeate our culture, a good and beneficial thing for a country made of immigrants and the ancestors of immigrants. Stories have always transmitted culture far back to the cave paintings of many ancient cultures, through Gilgamesh, and the griots of Africa. Humans have used stories to move culture forward. Movies are the most current version of doing that so why do we forget to study the storytellers? Now is the time to fix this glaring omission both in casual discussions of films and in academia.

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Read and Download The Entire Why Researching Screenwriters (has Always) Mattered Presentation in PDF Format

Text of Rosanne's Keynote at 10th Screenwriter Stories Seminar: Screenplay-X at the Université Presbytériènne Mackenzie in São Paulo, Brazil.
Download the Portuguese PDF 

Watch the the entire presentation here

Photos from the event

Screenplay-X at the Université Presbytériènne Mackenzie in São Paulo, Brazil. Screenplay-X at the Université Presbytériènne Mackenzie in São Paulo, Brazil.

Screenplay-X at the Université Presbytériènne Mackenzie in São Paulo, Brazil. Screenplay-X at the Université Presbytériènne Mackenzie in São Paulo, Brazil.

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From The “When Women Wrote Hollywood Archives 30: “Frederica Sagor Maas, 1900 – 2012 on Notebook.” MUBI. David Hudson

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The “When Women Wrote Hollywood Archives 30: “Frederica Sagor Maas, 1900 – 2012 on Notebook.” MUBI. David Hudson

From The

“Frederica Sagor Maas, a pioneering female screenwriter who scored her first big success with The Plastic Age, a smash hit for ‘It Girl’ Clara Bow in 1925, died Jan 5.” She was 111. Mike Barnes in the Hollywood Reporter: “Because she was a woman, Maas was typically assigned work on flapper comedies and light dramas. Her efforts includes such other Bow films as Dance Madness (1926), Hula (1927) and Red Hair (1928); two films featuring Norma Shearer, His Secretary (1925) and The Waning Sex (1926); the Greta Garbo drama Flesh and the Devil (1926); and the Louise Brooks film Rolled Stockings (1927)…. In 1927, she married Ernest Maas, a producer at Fox, and they wrote as a team but struggled to sell scripts…. The pair, interrogated by the FBI for allegedly Communist activities, were out of the business by the early 1950s. Ernest Mass died in 1986 at age 94. In 1999, at the urging of film historian Kevin Brownlow, Maas published her autobiography, The Shocking Miss Pilgrim: A Writer in Early Hollywood. She was 99 at the time.”

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Buy “When Women Wrote Hollywood” Today!

† When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry†

Paperback Edition | Kindle Edition | Google Play Edition

Help Support Local Bookstores — Buy at Bookshop.org

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

Related posts:

  1. From The “When Women Wrote Hollywood Archives 07: “Frederica Sagor Maas, Hollywood’s ‘Shocking Miss Pilgrim'” The Forward.
  2. When Women Wrote Hollywood – 10 in a series – Frederica Sagor Maas
  3. From The “When Women Wrote Hollywood” Archives 27: Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood—1896–1930 by Donna R. Casella
  4. From The “When Women Wrote Hollywood Archives 29: Eighty Odd Years in Hollywood: Memoir of a Career in Film and Television by John Meredyth Lucas
  5. When Women Wrote Hollywood – 11 in a series – The Shocking Miss Pilgrim (1947), Story: Frederica Sagor Maas

From The “When Women Wrote Hollywood Archives 29: Eighty Odd Years in Hollywood: Memoir of a Career in Film and Television by John Meredyth Lucas

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The “When Women Wrote Hollywood Archives 29: Eighty Odd Years in Hollywood: Memoir of a Career in Film and Television by John Meredyth Lucas

From The

John Meredyth Lucas, son of silent screen star and screenwriter Bess Meredyth (Ben-Hur, The Sea Beast, When a Man Loves, Don Juan) and stepson of renowned Hungarian-born director Michael Curtiz (Casablanca, Mildred Pierce, Yankee Doodle Dandy, Life with Father), came of age in Hollywood during the 1930s. Lucas went on to an impressive career of his own as a writer-producer-director. He made films with Hal Wallis, Ross Hunter, Walt Disney, and others, and he wrote, produced, and directed such classic television series as Mannix, The Fugitive and Star Trek. Completed shortly before his death in 2002, Lucas’ memoir is filled with never-before-told recollections of many Hollywood greats and features previously unpublished photographs. With Lucas, we go behind the scenes, onto the studio lots and into the parties with family friends John Barrymore, Joan Crawford, Errol Flynn and Jack Warner, to name just a few. It’s a boy’s-eye-view of Hollywood in a time of glamour, decadence, and the golden years of filmmaking. — Amazon

Buy “When Women Wrote Hollywood” Today!

† When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry†

Paperback Edition | Kindle Edition | Google Play Edition

Help Support Local Bookstores — Buy at Bookshop.org

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

Related posts:

  1. From The “When Women Wrote Hollywood” Archives 27: Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood—1896–1930 by Donna R. Casella
  2. From The “When Women Wrote Hollywood” Archives 16: “Ida May Park.” Women Film Pioneers Project. Center for Digital Research and Scholarship, 27 Sept. 2013
  3. From The “When Women Wrote Hollywood” Archives 21: The Progressive Silent Film List
  4. From The “When Women Wrote Hollywood” Archives 26: Adela St. Johns, . The Honeycomb. Garden City, N.Y.: Doubleday, 1969.
  5. From The “When Women Wrote Hollywood” Archives 09: “Eve Unsell in New York.” Film Daily 6 August 1936