Word: woman
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Dates: during 1980-1989
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Loos began as an actress in her father's theater in California and began selling scenarios to D.W. Griffith's Biograph Company. From there, Loos went on to compile one of the most impressive writing resumes of any woman this century. In addition to Gentlemen, Loos was responsible for the screen versions of San Francisco and A Tree Grows in Brooklyn as well as Douglas Fairbanks' early silent classics...
...Loos after Anita began garnering acclaim on her own. But at the beginning of Anita's career, Mr. E.'s name on a script was probably instrumental in selling projects to male producers. And Anita also used Mr. E. to intercede with some who were uncomfortable with having a woman in charge. Carey avoids the issue of sexism by deriding Emerson rather than the Hollywood system...
CAREY takes the role of biographer too literally, sticking almost exclusively to the facts of his subject's life and ignoring the context of the times in which she lived. He carefully avoids the issue of whether Loos encountered any discrimination as a woman, implying that Loos was treated from the start as an equal and that despite her diminutive size, her tough intelligence inspired respect from her male colleagues...
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...
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...