![]() Carey quotes Loos as recalling that the challenge for her was to find the widest variety of “spots from which Doug could jump.” She satirized this aspect of the Fairbanks character by opening one motion picture with an intertitle that describes him as having “a vaulting ambition which is likely to o’erleap itself and fall on the other side,” followed by a scene of Fairbanks bouncing on a mattress in a bedroom (44).Īnita Loos on set with Douglas Fairbanks and John Emerson. The combination of her verbal humor with his action-oriented energy is cited by a number of sources as the formula for his success. arrived at Fine Arts/Triangle Studios, Loos teamed with director John Emerson to write the scripts that led to Fairbanks’s initial film popularity. One of her most celebrated scripts, The New York Hat was the last film that actress Mary Pickford made for Biograph and contains an early performance by Lionel Barrymore as well as Lillian and Dorothy Gish as extras (Carey 23). ![]() Loos sold her first script to Biograph in 1911 and her second script was produced as The New York Hat (1912), directed by D.W. Ally Acker agrees, claiming that “the art of the subtitle was born” with the film His Picture in the Papers (1916) from Loos’s script for Douglas Fairbanks, Sr. ![]() ![]() Bested in script output only by her friend and fellow screenwriter Frances Marion, according to Loos biographer Gary Carey, Loos is credited with elevating intertitles to “a legitimate form of screen humor” (44). ![]()
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