The Shocking Miss Pilgrim: A Writer in Early Hollywood


The Shocking Miss Pilgrim: A Writer in Early Hollywood

Born in to Russian radicals who had immigrated to New York City, Frederica Sagor answered an ad for story editor at Universal and by her An ambitious twenty-three-year-old, Maas moved to Hollywood and launched her own writing University Press of Kentucky Bolero Ozon. The Shocking Miss Pilgrim: A Writer in Early Hollywood.

An ambitious twenty-three-year-old, Maas moved to Hollywood and launched her own writing career by drafting a screenplay of the bestselling novel The Plastic Age for ""It"" girl Clara Bow. On the basis of that script, she landed a staff position at powerhouse MGM studios. In the years to come, she worked with and befriended numerous actors and directors, including Norma Shearer, Joan Crawford, and Eric von Stroheim, as well as such writers and producers as Thomas Mann and Louis B.

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As a professional screenwriter, Fredderica quickly learned that scripts and story ideas were frequently rewritten and that screen credit was regularly given to the wrong person. Studio executives wanted well-worn plots, but it was the writer's job to develop the innovative situations and scintillating dialogue that would bring to picture to life. For over twenty years, Freddie and her friends struggled to survive in this incredibly competitive environment.

Where did they come from? And what did they hope to achieve with their pacts with the Hollywood devil?

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Hardcover , pages. Be the first to ask a question about The Shocking Miss Pilgrim. But I guess since she didn't like her more popular movies very much she didn't want to go into detail about them. Not muckraking, but a genuine, personal inside look, rooted firmly in the milieu's nature, but told as her - and eventually her husband's - personal journeys through Hollywood and history. But I got the feeling in reading this book that Mrs. She wrote this autobiography several years ago and its quite wonderful.

At hand is a rare account by a writer who participated in silent era Hollywood and survived, dignity and sanity intact, to tell the tale. In the narrative are accounts of Hollywood greats and not-so-greats, their successes and foibles, and a smattering of gossipy tidbits.

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After sorting through the to-be-expected tales of story theft, morally bankrupt executives, casual sex, fleeting success and hand-to-mouth months, we are left with a substantial portrait of two people one might want to sit down to dinner with and engage in one of those fascinating discussions that last into the wee hours of the morning.

I found myself wishing that I could have been an acquaintance of Frederica and Ernest Maas. I wanted to learn something more from them than insider Hollywood information.

I wanted these people as friends, since their story left me with a respect for them both as people of honor, intellect and love. At Columbia University, Sagor studied journalism from mostly uninspiring teachers. Early in Frederica became a story editor for Universal Pictures Corporation.

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Early in she moved to Hollywood, unencumbered by a job, and soon was contracted by B. In Sagor landed a job as a writer at MGM. While there, she saw the other side of the folly of Hollywood screen credits, with Sagor receiving full credit for the adaptation and scenario for Dance Madness , a project almost wholly written by Alice D.

She later worked for Tiffany Productions. He lacked the courage and judgment to part with any of it. Although I recognized the wasteful extravagance of von Stroheim, I also recognized the fierce intensity he had to tell a story in every detail.

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