Word: carey
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That it was not always easy to be a woman screenwriter for Loos seems clear. In 1936, she was faced with scripting Clare Boothe's play, The Women which was reproached at the time for its cattiness. Carey sidesteps the dilemma Loos faced, noting simply the play's "bitchiness...
...Carey similarly glosses over an incident that took place over Loos' play, Happy Birthday. He reports that "the censors felt the play was an endorsement for liquor-get drunk, get your...
Loos never believed men could fully understand women, yet, paradoxically, her own delineation of the feminine perspective was stereotypical, taking its cues from traditional male depictions. She was a woman working in a man's business, but Carey does not explore the incongruities that situation presented her as a writer...
...WHEN Carey does enlarge his focus to provide analysis, his perspective is a cliched attempt at psychoanalysis. As Anita grew into old age and Mr. E. became increasingly mentally ill, Loos began to rely on her paid companion and housekeeper Gladys. Under Gladys' influence, Anita began to become more religious. But Carey slights this spiritual development and instead concludes in an almost condescending manner: "Though she never realized it, her journals brought more peace of mind than any passage in the Daily Word...
...attempting to chronicle the sordid end of Anita's life, Carey is restricted by the impassive voice he has assumed. In her last few years, Anita devoted herself to Gladys and her young charge, Miss Moore. But when Anita was ill, Gladys was 70 years old and possibly had a drinking problem. Carey's description of the battle over Loos' will and her friends scandalized reaction to her relationship with Gladys and Miss Moore, who are Black, is blank, uninflected. The sadness and tragedy of Anita's loneliness are left unexamined...