Category: Women

To highlight the wonderful yet largely forgotten work of a collection of female screenwriters from the early years of Hollywood (and as a companion to the book, When Women Wrote Hollywood) we will be posting quick bits about the many films they wrote along with links to further information and clips from their works which are still accessible online. Take a few moments once or twice a week to become familiar with their names and their stories. I think you’ll be surprised at how much bold material these writers tackled at the birth of this new medium. — Rosanne Welch

When Women Wrote Hollywood – 5 in a series – Anita Loos

 Anita Loos (April 26, 1889[1] – August 18, 1981) was an American screenwriter, playwright and author, best known for her blockbuster comic novel, Gentlemen Prefer Blondes. She wrote film scripts from 1912, and became arguably the first-ever staff scriptwriter, when D.W. Griffith put her on the payroll at Triangle Film Corporation. She went on to write many of the Douglas Fairbanks films, as well as the stage adaptation of Colette’s Gigi.

Loos would continue writing, always a constant magazine contributor and appearing regularly in Harper’s Bazaar, Vanity Fair and The New Yorker. Biographer Gary Carey notes: “She was a born storyteller and was always in peak form when reshaping a real-life encounter to make an amusing anecdote.”[4] Loos began a volume of memoirs, A Girl Like I, which would be published in September 1966. Her 1972 book, Twice Over Lightly: New York Then and Now, was written in collaboration with friend and actress Helen Hayes. Kiss Hollywood Good-by (1974) was another Hollywood memoir, this time about the MGM years and would be very successful. Her book The Talmadge Girls (1978) is about the actress sisters Constance Talmadge and Norma Talmadge.

Loos would become a virtual New York institution, an assiduous partygoer and diner-out, conspicuous at fashion shows, theatrical and movie events, balls and galas.[14] A celebrity anecdotalist, she was also never one to let facts spoil a good story: — Wikipedia

More about Anita Loos

• Read more about this screenwriter in When Women Wrote Hollywood
• Like When Women Wrote Hollywood on Facebook
• Anita Loos on Wikipedia
• Anita Loos on IMDB
• Anita Loos at the Women Film Pioneers Project
• Anita Loos at Virtual History

††††

Free eBook Version of How To Write Photoplays by Anita Loos and John Emerson

* 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

To highlight the wonderful yet largely forgotten work of a collection of female screenwriters from the early years of Hollywood (and as a companion to the book, When Women Wrote Hollywood) we will be posting quick bits about the many films they wrote along with links to further information and clips from their works which are still accessible online. Take a few moments once or twice a week to become familiar with their names and their stories. I think you’ll be surprised at how much bold material these writers tackled at the birth of this new medium. — Rosanne Welch

When Women Wrote Hollywood – 4 in a series – Jeanie MacPherson

Jeanie MacPherson (May 18, 1886[1] – August 26, 1946) was an American actress, writer, and director from 1908 until the late 1940s. She was a pioneer for women in the film industry. She worked with some of the best filmmakers of the time period including D. W. Griffith and Cecil B. DeMille. While she started in the theater, and then had a brief stint as an actress, she ultimately dedicated her life’s work to screenwriting for DeMille.[2] She was appraised for her new level resourcefulness and attentiveness to the needs of DeMille.[3]

DeMille and MacPherson formed what became one of the most influential and long-lasting partnerships in the industry.[3] She was infatuated with his perfection and force of will, while he was captivated by her high spirited courage. She penned 30 of DeMille’s next 34 films. They admired each other; he would provide the crowd shots and epic sense, while she would humanize the heroine. They both loathed weakness, which they defined as a man being degraded and women, who were shallow and money-hungry, looking for a man to take care of them. They both believed in the power of people to change their ways, which many of their scripts showed.[3] — Wikipedia

More about Jeanie MacPherson

• Read more about this screenwriter in When Women Wrote Hollywood
• Like When Women Wrote Hollywood on Facebook
• Jeanie Macpherson on Wikipedia
• Jeanie Macpherson on IMDB
• Jeanie MacPherson at the Women Film Pioneers Project
• Jeanie MacPherson at Virtual History

†

* 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

To highlight the wonderful yet largely forgotten work of a collection of female screenwriters from the early years of Hollywood (and as a companion to the book, When Women Wrote Hollywood) we will be posting quick bits about the many films they wrote along with links to further information and clips from their works which are still accessible online. Take a few moments once or twice a week to become familiar with their names and their stories. I think you’ll be surprised at how much bold material these writers tackled at the birth of this new medium. — Rosanne Welch

Jeanie Macpherson

The Ten Commandments (1923), Wr: Jeanie Macpherson, Dirs: Cecil B. DeMille, USA 136 mins

Segments from The Ten Commandments (1923)

Original Poster Art

The Ten Commandments is a 1923 American silent religious, epic film and produced and directed by Cecil B. DeMille. Written by Jeanie MacPherson, the film is divided into two parts: a prologue recreating the biblical story of the Exodus and a modern story concerning two brothers and their respective views of the Ten Commandments.

Lauded for its “immense and stupendous” scenes, use of Technicolor process 2, and parting of the Red Sea sequence,[3] the expensive film proved to be a box-office hit upon release.[4] It is the first in DeMille’s biblical trilogy, followed by The King of Kings (1927) and The Sign of the Cross (1932).

Despite its epic scale, the Moses story takes up only about the first third of the film. After that, the story changes to a modern setting involving living by the lessons of the commandments. Two brothers make opposite decisions, one, John, to follow his mother’s teaching of the Ten Commandments and become a poor carpenter, and the other, Danny, to break every one of them and rise to the top. The film shows his unchecked immorality to be momentarily gainful, but ultimately disastrous. — Wikipedia

More information on The Ten Commandments (1923)

• Read more about this screenwriter in When Women Wrote Hollywood
• Like When Women Wrote Hollywood on Facebook
• Watch The Ten Commandments on YouTube
• The Ten Commandments on IMDB
• Jeanie Macpherson on Wikipedia
• The Ten Commandments on Wikipedia

* 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

To highlight the wonderful yet largely forgotten work of a collection of female screenwriters from the early years of Hollywood (and as a companion to the book, When Women Wrote Hollywood) we will be posting quick bits about the many films they wrote along with links to further information and clips from their works which are still accessible online. Take a few moments once or twice a week to become familiar with their names and their stories. I think you’ll be surprised at how much bold material these writers tackled at the birth of this new medium. — Rosanne Welch

When Women Wrote Hollywood – 2 in a series – Adela Rogers St. Johns

Adela Nora Rogers St. Johns (May 20, 1894 – August 10, 1988) was an American journalist, novelist, and screenwriter. She wrote a number of screenplays for silent movies but is best remembered for her groundbreaking exploits as “The World’s Greatest Girl Reporter” during the 1920s and 1930s and her celebrity interviews for Photoplay magazine.

She obtained her first job in 1912 working as a reporter for Hearst’s San Francisco Examiner. She reported on crime, politics, society, and sports news before transferring to the Los Angeles Herald in 1913.^[1]

 After seeing her work for that newspaper, James R. Quirk offered her a job writing for his new fan magazine  Photoplay. St. Johns accepted the job so she could spend more time with her husband and children. Her celebrity interviews helped the magazine become a success through her numerous revealing interviews with Hollywood film stars.^[3]

She also wrote short stories for Cosmopolitan, The Saturday Evening Post, and other magazines and finished nine of her thirteen screenplays before returning to reporting for Hearst newspapers. — Wikipedia

More information on Adela Rogers St. Johns

• Read more about this screenwriter in When Women Wrote Hollywood
• Adela Rogers St. John on Wikipedia
• Books by Adela Rogers St. Johns

†††

* 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

To highlight the wonderful yet largely forgotten work of a collection of female screenwriters from the early years of Hollywood (and as a companion to the book, When Women Wrote Hollywood) we will be posting quick bits about the many films they wrote along with links to further information and clips from their works which are still accessible online. Take a few moments once or twice a week to become familiar with their names and their stories. I think you’ll be surprised at how much bold material these writers tackled at the birth of this new medium. — Rosanne Welch

“The Red Kimono” – Story by Adela Rogers St. Johns, Directed and Starring Dorothy Davenport

A clip from The Red Kimono

Original Poster Art

The Red Kimono is a 1925 American silent film drama about prostitution produced by Dorothy Davenport (billed as Mrs. Wallace Reid) and starring Priscilla Bonner.

The film is notable today for being one of the few independent productions produced and written by women. This is the third of Davenport’s “social conscience” releases, preceded by Human Wreckage (1923) on the topic of drug addiction (released five months after Wallace Reid‘s death from morphine), and Broken Laws (1924) about excessive mother-love.

The film is based on a real case of prostitution that took place in New Orleans in 1917. This film, billing itself as a true story, used the real name of the woman played by Priscilla Bonner who as a consequence sued producer Dorothy Davenport for a hefty sum in court and won.^[1] The case, Melvin v Reid has been cited recently in the emerging “right to be forgotten” cases around the world as an early example of one’s right to leave a past one wishes to forget. In the ruling of the California Appellate Court (Melvin v. Reid, 112 Cal.App. 285, 297 P. 91 (1931)) the Court stated, “any person living a life of rectitude has that right to happiness which includes a freedom from unnecessary attacks on his character, social standing or reputation.”^{[citation needed]}

As with Davenport’s earlier Human Wreckage in 1924, this film was banned in the United Kingdom by the British Board of Film Censors in 1926.^[2] In the 1920s, the film was also banned in the city of Chicago^[3][4]. — Wikipedia

More information on Red Kimono

• Read more about this screenwriter in When Women Wrote Hollywood
• Watch Red Kimono on Canopy (free via many public library web sites)
• Red Kimono on IMDB
• Red Kimono on Wikipedia
• Books by Adela Rogers St. Johns

* 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