The Shocking Miss Pilgrim by Frederica Sagor Maas
A Writer in Early Hollywood

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" Freddie Maas's revealing memoir offers a unique perspective on the film industry and Hollywood culture in their early days and illuminates the plight of Hollywood writers working within the studio system. 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. Mayer. 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. Through it all, Freddie remained a passionate, outspoken woman in an industry run by powerful men, and her provocative, nonconformist ways brought her success, failure, wisdom, and a wealth of stories, opinions, and insight into a fascinating period in screen history.


About Frederica Sagor Maas

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Published June 10, 1999 by The University Press of Kentucky. 296 pages
Genres: Biographies & Memoirs, Education & Reference, Humor & Entertainment, Literature & Fiction. Non-fiction

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The breezy text is chockablock with colloquialisms, and slang fans will especially appreciate Maas’s descriptions of women: girls with plenty of “ginger,” or great “gams,” or who, like the author herself, “learned about the good old pessary and so felt free to play the field.” In his foreword, fi...

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Publishers Weekly

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After her 1927 marriage to script writer and producer Ernest Maas, the couple survived the coming of sound films, the Depression and various earthquakes, but dry scripting spells and the constant theft of their ideas, stories and credits led them to quit the business.

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