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{{short description|American screenwriter, playwright, author, actress, and television producer}}
{{Use mdy dates|date=April 2013}}
{{Infobox person
| name               = Anita Loos
| image              = Anita Loos - Apr May 1920 MP.jpg
| imagesize          = 
| caption            = 1916 portrait of Loos
| birth_name         = 
| birth_date         = {{Birth date|1888|4|26}}
| birth_place        = [[Mount Shasta, California|Sisson]], [[California]], U.S.
| death_date         = {{Death date and age|1981|8|18|1888|4|26}}
| death_place        = [[New York City]], [[New York (state)|New York]], U.S.
| resting_place      = Etna Cemetery, [[Etna, California]]
|relatives =
*[[Mary Loos]](niece) 
*[[Richard Beers Loos]](father)
| occupation         = {{hlist|Actress|novelist|playwright|screenwriter}}
| years_active       = 1912–1980
| spouse             = {{plainlist|
* {{marriage|Frank Pallma, Jr.|1915|1919|end=divorce}}
* {{marriage|[[John Emerson (filmmaker)|John Emerson]]|1919|1956|end=died}}
}}
}}

''' Corinne Anita Loos'''  (April 26, 1888<ref>{{Cite book|last=Loos|first=Anita|url=https://books.google.com/books?id=t_l1IqRJe_EC&q=Corinne+anita+loos+born+april1888&pg=PA134|title=Anita Loos Rediscovered: Film Treatments and Fiction by Anita Loos, Creator of Gentlemen Prefer Blondes|date=2003-11-10|publisher=University of California Press|isbn=978-0-520-22894-8|language=en}}</ref><ref name=":2">{{Cite news|last=Whitman|first=Alden|date=1981-08-19|title=Anita Loos Dead at 93; Screenwriter, Novelist|language=en-US|work=The New York Times|url=https://www.nytimes.com/1981/08/19/obituaries/anita-loos-dead-at-93-screenwriter-novelist.html|access-date=2020-08-04|issn=0362-4331}}</ref> – August 18, 1981) was an American actress, novelist, playwright and screenwriter. In 1912, she became the first female staff screenwriter in [[Hollywood (film industry)|Hollywood]], when [[D. W. Griffith]] put her on the payroll at [[Triangle Film Corporation]]. She is best known for her 1925 comic novel, ''[[Gentlemen Prefer Blondes (novel)|Gentlemen Prefer Blondes]]'', her screenplay of the 1939 adaptation of ''[[The Women (1939 film)|The Women]]'', and her 1951 [[Broadway theatre|Broadway]] adaptation of [[Colette]]'s novella ''[[Gigi (novella)|Gigi]]''.

==Early life==
Loos was born in [[Mount Shasta, California|Sisson]] (now [[Mount Shasta, California|Mount Shasta]]), [[California]], to [[Richard Beers Loos|Richard Beers Loos and Minerva Ellen "Minnie" (Smith) Loos]]. She had one sister, Gladys Loos, and one brother, Dr. Harry Clifford Loos, a physician and a co-founder of the [[Ross-Loos Medical Group]].

About pronouncing her name, Loos said, "The family has always used the correct French pronunciation which is ''lohse''. However, I myself pronounce my name as if it were spelled ''luce'', since most people pronounce it that way and it was too much trouble to correct them."<ref>Funk. 1936.</ref>

Her father founded ''Sisson Mascot'', a tabloid newspaper, for which her mother did most of the work of a publisher.<ref name="Loos">Loos. 1966.</ref> In 1892, when Anita was three years old, the family moved to San Francisco, where her father bought the newspaper ''Music and Drama'', with money that her mother "wheedled"<ref name="Loos" /> from her maternal grandfather,<ref name="Loos" /> dropped the subject of music, in which he had no interest, and retitled the weekly to ''The Dramatic Review'', filled with the photographs of pretty girls, that copied the format of  the British ''[[Police Gazette (Great Britain and Ireland)|Police Gazette]]'', and led to her father's romance with the opera singer [[Alice Nielsen]].<ref name="Loos" />

By age six, Anita Loos wanted to be a writer. While living in San Francisco, she accompanied her father, an alcoholic, on exciting fishing trips to the pier, exploring the city's underbelly (the Tenderloin and the ''Barbary Coast''<ref name="Loos"/>) and making friends with the locals.<ref name="Loos"/> This fed her lifelong fascination with lowlifes and loose women.<ref name="Carey">Carey. 1988</ref>

== Career ==

=== 1897-1915: Early career ===
In 1897, at their father's urging, Loos and her sister performed in a [[San Francisco]] stock company production of ''Quo Vadis?'' Gladys died at age eight of appendicitis,<ref name="Loos"/> while their father was away on business.<ref>{{cite web|url=http://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=RBN19010424.2.36|title=Red Bluff News 24 April 1901 — California Digital Newspaper Collection|website=cdnc.ucr.edu|access-date=April 24, 2018|url-status=live|archive-url=https://web.archive.org/web/20171019163200/https://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=RBN19010424.2.36|archive-date=October 19, 2017}}</ref>

Anita continued appearing on stage, being the family's breadwinner. Her father's spendthrift ways caught up with them, and in 1903 he took an offer to manage a theater company in [[San Diego]].<ref name="Loos"/> Anita performed simultaneously in her father's company, and under another name with a more legitimate stock company.{{citation needed|date=October 2022}}

After graduating from [[San Diego High School]], Loos devised a method of cobbling together published reports of Manhattan social life and mailing them to a friend in New York, who would submit them under the friend's name for publication in San Diego. Her father had written some one-act plays for the stock company, and he encouraged Anita to write plays; she wrote ''The Ink Well'', a successful piece, for which she received periodic royalties.<ref name="Loos" />

In 1911, the theater{{which|date=June 2021}} was running one-reel films after each night's performances; Anita would take a perfunctory bow and run to the back of the theater to watch them.<ref name="Carey"/> She sent her first attempt at a screenplay, ''He Was a College Boy'', to the [[American Mutoscope and Biograph Company|Biograph Company]], for which she received $25.<ref name="Loos3">Loos. 1974</ref> ''[[The New York Hat]]'', starring [[Mary Pickford]] and [[Lionel Barrymore]] and directed by [[D. W. Griffith]], was her third screenplay and the first to be produced. Loos dredged real life, including her own, for scenarios: she dished up her father's cronies and brother's friends, also using the rich vacationers from the San Diego resorts; eventually every experience became grist for her script mill.<ref name="Loos" />

By 1912, Loos had sold scripts to both the [[Biograph Studios|Biograph]] and [[Lubin Manufacturing Company|Lubin]] studios. Between 1912 and 1915, she wrote 105 scripts, all but four of which were produced.<ref name="Norman">Norman. 2007.</ref> She wrote 200 scenarios before she ever visited a film studio.<ref name="Schmidt">Schmidt. 1917</ref>

=== 1915-1917: Hollywood ===
[[File:Loos-onLiberator-Apr1918.jpg|thumb|220px|Stylized cover drawing of Anita Loos by [[Frank Walts]] on the April 1918 issue of ''The Liberator''|alt=|left]]

In 1915, trying to escape her mother's influence and objections to a career in Hollywood, Loos married  Frank Pallma, Jr., the son of the band conductor.<ref name="Scribners">Scribners.1998.</ref> But Frank proved to be penniless and dull – after six months, she sent him out for hair pins, and while he was gone she packed her bags and went home to her mother.<ref name="Carey"/> After that, Minnie rethought her position on a Hollywood career. Accompanied by her mother, Anita joined the film colony in Hollywood where [[D. W. Griffith|Griffith]] put Loos on the payroll for [[Triangle Film Corporation]] at $75 a week with a bonus for every produced script.

Many of the scripts she turned out for Griffith went unproduced. Some he considered unfilmable because the "laughs were all in the lines, there was no way to get them onto the screen", but he encouraged her to continue, because reading them amused him.<ref name="Norman"/> Her first screen credit was for an adaptation of ''[[Macbeth]]'' in which her billing came right after [[William Shakespeare|Shakespeare]]'s.<ref name="Carey"/> When Griffith asked her to assist him and [[Frank E. Woods]] in writing the [[intertitle]]s for his epic ''[[Intolerance (film)|Intolerance]]'' (1916),<ref name="Frost">{{cite journal |last=Frost |first=Laura |title=Blondes Have More Fun: Anita Loos and the Language of Silent Cinema |journal=Modernism/Modernity |volume=17 |issue=2 | pages=299–300 |publisher=Johns Hopkins University Press |date=April 2010 |url=https://www.academia.edu/28516866 |doi=10.1353/mod.0.0213 |s2cid=143104887 |access-date=2020-03-22}}</ref> she traveled to New York City for the first time to attend its premiere. Instead of returning to Hollywood, Loos spent the fall of 1916 in New York and met with [[Frank Crowninshield]] of ''[[Vanity Fair (American magazine 1913-1936)|Vanity Fair]]''. They had an instant rapport and Loos remained a ''Vanity Fair'' contributor for several decades.<ref name="Norman"/>

Loos returned to California as Griffith was leaving Triangle to make longer films, and she joined director and future husband [[John Emerson (filmmaker)|John Emerson]] for a string of successful [[Douglas Fairbanks]] movies. Loos and company realized that Douglas Fairbanks' acrobatics were an extension of his effervescent personality and parlayed his natural athletic ability into swashbuckling adventure roles. ''[[His Picture in the Papers]]'' (1916) was noted for its wry style of discursive and witty [[subtitle (captioning)|subtitle]]s: "My most popular subtitle introduced the name of a new character. The name was something like this: 'Count Xxerkzsxxv.' Then there was a note, 'To those of you who read titles aloud, you can't pronounce the Count's name. You can only think it.'&nbsp;"<ref name="Schmidt"/>

The five films Loos wrote for Fairbanks helped make him a star.<ref name="Norman"/> When Fairbanks was offered a sweetheart deal with [[Famous Players–Lasky]], he took the team of Emerson-Loos with him at the high income of $500 a week. During this time Loos, Fairbanks, and Emerson collaborated well together, and Loos was getting as much publicity as either [[Lillian Gish]] or [[Mary Pickford]].<ref name="Carey"/> ''[[Photoplay]]'' magazine labeled her "The Soubrette of Satire".<ref name="Norman"/>

=== 1918-1924: New York ===
In 1918, [[Famous Players–Lasky]] offered the couple a four-picture deal in New York for more money than they had been making with the Fairbanks unit.
[[File:Emerson Loos Wedding 1919.jpg|left|thumb|Loos and Emerson at their wedding on June 28, 1919 in [[Long Island]]]]
Loos, Emerson and fellow writer [[Frances Marion]] migrated to New York as a group,  with Loos and Emerson sharing a leased mansion in Great Neck, Long Island.<ref name="Beauchamp" /> Loos wanted Marion as chaperone, as she found herself attracted to Emerson, a man 15 years her senior that she would refer to as "Mr. E".<ref>{{Cite news|url=https://www.nytimes.com/1988/10/11/books/books-of-the-times-centenary-for-author-of-an-indubitable-classic.html|title=Books of The Times; Centenary for Author of an Indubitable Classic|last=Gross|first=John|date=1988-10-11|work=The New York Times|access-date=2019-01-06|language=en-US|issn=0362-4331}}</ref> He would readily admit that he "had never been, nor could be, faithful to any one female." Loos convinced herself he would see that she was different from all his other girls, and that behind his outwardly dull exterior was a great mind. She would later consider herself misled on both counts, writing: "I had set my sights on a man of brains, to whom I could look up", she lamented, "but what a terrible let down it would be to find out that I was smarter than he was."<ref name="Loos2">Loos. 1977.</ref>

The pictures for Famous Players–Lasky were not as successful as their previous films, partly because they starred Broadway headliners not adept at screen acting and their contract was not renewed. The scripts carried both names but were mostly products of Loos alone. Later Loos would claim that Emerson took all the money and most of the credit, though his contribution usually consisted of observing from bed as she worked.<ref name="Gale">Gale Group. 2001</ref> Much to the chagrin of her friends, her adoration of Emerson had manifested as subservience. When [[William Randolph Hearst]] offered Loos a contract to write a picture for his mistress, [[Marion Davies]],<ref name="Beauchamp">Beauchamp. 1997</ref> Loos included the unnecessary Emerson in the deal. Hearst liked the picture and ''[[Getting Mary Married]]'' (1919) was one of the first Marion Davies pictures that didn't lose money.<ref name="Carey" />  In addition to their films, the couple wrote two books: ''How to Write Photoplays'', published in 1920, followed by ''Breaking Into the Movies'' in 1921.

Loos and Emerson turned down another picture with Davies, preferring to write for their old friend [[Constance Talmadge]], whose brother-in-law [[Joseph Schenck]] (husband of [[Norma Talmadge]]) was an independent producer. Both ''[[A Temperamental Wife]]'' (1919) and ''[[A Virtuous Vamp]]'' (1919) were great hits for Talmadge. The couple joined the Talmadges and the Schencks at the Ambassador Hotel on [[Park Avenue (Manhattan)|Park Avenue]], with Constance filling the void left by the loss of her sister. When Anita and Constance weren't working, they went shopping. The Talmadge-Schencks convinced Anita to summer with them in Paris without Emerson. Much of this adventure would end up as fodder for Loos's book ''[[Gentlemen Prefer Blondes (novel)|Gentlemen Prefer Blondes]]''.

Upon returning, they produced five more films in 16 months. During this time, Loos had filed for divorce from her estranged first husband. Emerson proposed marriage and they were married at the Schenck estate on June 15, 1919. Loos was among the first to join [[Ruth Hale (feminist)|Ruth Hale]]'s [[Lucy Stone League]], an organization that fought for women to preserve their maiden names after marriage as she continued with hers.

The couple moved into a modest [[Murray Hill, Manhattan|Murray Hill]] apartment and cut back to two films a year in order to travel. They spent the summer in Paris. Loos and her new assistant, John Ashmore Creeland, visited many of the Paris-based writers Loos had met in America, as well as [[Gertrude Stein]], [[Alice B. Toklas]], [[Elisabeth Marbury]] and [[Elsie De Wolfe]].

After one more film for Schenck and Talmadge, ''[[The Perfect Woman (1920 film)|The Perfect Woman]]'' (1920), Emerson refused another contract.  After working with [[Actors Equity]] during their 1919 strike, he decided that the Loos-Emerson team should make the move to the theater.<ref name="Carey" /> Their first play, ''The Whole Town's Talking'', which opened at the [[Bijou Theatre (Manhattan, 1917)|Bijou Theatre]] on August 29, 1923, received good reviews and was a moderate box-office success. Soon afterward the couple moved to a small house in [[Gramercy Park]].

Emerson had convinced a devastated Loos that he needed to take a break from the marriage once a week. It was on these days he would date younger women, while Loos consoled herself by entertaining her friends: the Talmadge sisters, "Mama" Peg Talmadge, [[Marion Davies]], [[Marilyn Miller]], [[Adele Astaire]] and an assortment of chorus girls kept by prominent men.<ref name="Carey" /> These "Tuesday Widows" soireés would influence her later writings, and it was with the "Tuesday Widows" that she visited one of her favorite hangouts, Harlem, where she developed a deep and lifelong appreciation for African-American culture.<ref name="Carey" /> "Sometimes I get enquiries {{sic}} concerning my marriage to a man who treated me with complete lack of consideration, tried to take credit for my work and appropriated all my earnings", Loos wrote in ''Cast of Thousands''. "The main reason is that my husband liberated me; granted me full freedom to choose my own companions."<ref name="Loos2" />[[File:Anita Loos and John Emerson by Edward Steichen.JPG|260px|thumb|Anita Loos and John Emerson in [[Edward Steichen]] photo for [[Vanity Fair (American magazine 1913-1936)|Vanity Fair]], July 1928|alt=]]

=== 1925-1926: ''Gentlemen Prefer Blondes'' ===
Loos had become a devoted admirer of [[H. L. Mencken]], a literary critic and intellect. When he was in New York, she would take a break from her "Tuesday Widows" and join his circle, which included [[Theodore Dreiser]], [[Sherwood Anderson]], [[Sinclair Lewis]], [[Joseph Hergesheimer]], essayist [[Ernest Boyd]] and theater critic [[George Jean Nathan]]. Loos adored Mencken, but gradually realized disappointingly, "High-IQ gentlemen didn't fall for women with brains, but those with more downstairs".<ref name=":0">{{Cite web|url=https://www.hollywoodreporter.com/news/why-writer-who-turned-audrey-hepburn-douglas-fairbanks-stars-never-won-an-oscar-976174|title=Why the Writer Who Turned Audrey Hepburn and Douglas Fairbanks Into Stars Never Won an Oscar|website=The Hollywood Reporter|date=February 16, 2017|language=en|access-date=2019-01-06}}</ref> In 1925, on the train to Hollywood with Mencken, she became keenly aware of this fact when he solicited the attention of a blonde in the dining car.<ref name=":0" /> Loos then began to write a sketch of Mencken and his vacant lady friends that would later become ''Gentlemen Prefer Blondes''.

''[[Gentlemen Prefer Blondes (novel)|Gentlemen Prefer Blondes: The Illuminating Diary of a Professional Lady]],'' began as a series of short sketches, illustrated by [[Ralph Barton]],<ref>{{cite journal | url=https://www.jstor.org/stable/24580463 | jstor=24580463 | title=Gentlemen Prefer Adaptations: Addressing Industry and Gender in Adaptation Studies | last1=Wood | first1=Bethany | journal=Theatre Journal | date=February 5, 2024 | volume=66 | issue=4 | pages=559–579 | doi=10.1353/tj.2014.0120 | s2cid=143677872 | url-access=subscription }}</ref> published in ''[[Harper's Bazaar]]'', known as the "Lorelei" stories. They were satires on the state of sexual relations that only vaguely alluded to sexual intimacy; the magazine's circulation quadrupled overnight.<ref name="acker">Acker. 1991.</ref> The heroine of the stories, Lorelei Lee, was a bold, ambitious [[flapper]], who was much more concerned with collecting expensive baubles from her conquests than any marriage licenses, in addition to being a shrewd woman of loose morals and high self-esteem. She was a practical young woman who had internalized the materialism of the United States in the 1920s and equated culture with cold cash and tangible assets.<ref name="Scribners"/>

The success of the short stories had the public clamoring for them in book form. Pushed by Mencken, she signed with [[Boni & Liveright]]. Modestly published in November 1925, the first printing sold out overnight. The initial reviews were rather bland and unimpressive, but through word of mouth it became the surprise best-seller of 1925. Loos garnered fan letters from fellow authors [[William Faulkner]], [[Aldous Huxley]] and [[Edith Wharton]], among others.<ref name="Gale"/> "''Blondes''" would see three more printings sell by year's end and 20 more in its first decade. The little book would see 85 editions in the years to come and eventually be translated into 14 languages, including Chinese.<ref name="NYT">NYT Obit. 1981</ref>

When asked who the models for her characters were, Loos would almost always say they were composites of various people. But when pressed, she admitted that toothless flirt Sir Francis Beekman was modeled after writer [[Joseph Hergesheimer]] and producer [[Jesse Louis Lasky|Jesse L. Lasky]]. Dorothy Shaw was modeled after herself and Constance Talmadge and Lorelei most closely resembled acquisitive [[Ziegfeld Follies|Ziegfeld]] showgirl [[Lillian Lorraine]], who was always looking for new places to display the diamonds bestowed by her suitors.

Emerson first attempted to suppress its publication and then settled for a personal dedication. Loos continued to be overworked throughout 1926, sometimes working many projects at once. In the spring of 1926 she completed the stage adaptation, which opened a few weeks later in Chicago and ran for 201 performances on Broadway. Emerson had developed a serious case of [[Hypochondriasis|hypochondria]] by this time, affecting [[laryngitis]] attacks to divert attention from her work;<ref name="Norman"/> in the words of his wife, "he was a man who enjoyed ill health."<ref name="Scribners"/> It was the opinion of New York psychiatrist, Smith Ely Jelliffe, "that she was to blame and in order for Emerson to get better she would have to give up her career."<ref name="Gale"/> She resolved to retire after her next book, ''[[But Gentlemen Marry Brunettes]]'', a sequel to ''Blondes'' that she had promised ''Harper's Bazaar''.

The couple had planned another European vacation. Unwell at the last minute, Emerson insisted that Loos continue alone. Arriving in London, she was promptly taken under the wing of socialite [[Sibyl Colefax]], whose drawing room had become filled with "the bright young things" of the day such as [[John Gielgud]], [[Harold Nicolson]], [[Noël Coward]] and notables such as [[Arnold Bennett]], [[Max Beerbohm]] and [[George Bernard Shaw|Bernard Shaw]]. Photos of Loos on the London social scene appeared in the New York papers, and the unwell Emerson subsequently joined Loos. To keep his spirits up she took him to the theater every night. It worked; at times he spoke in normal tones. The couple traveled on to Paris as Emerson's recovery continued. In September, their vacation was cut short; Loos was needed back in New York to do revisions on ''Blondes'' for its [[The Shubert Organization#Waldorf Theatre (Broadway)|Waldorf Theatre]] ([[Selwyn Theatre]]?<ref>{{cite news|title=This Week's Openings |url=https://www.newspapers.com/clip/127118158/ |newspaper=[[New York Daily News|Daily News]] |date=September 26, 1926 |pages=D15 |via = [[Newspapers.com]]|accessdate = June 26, 2023}}</ref><ref name=ibdb>{{cite web | url=https://www.ibdb.com/broadway-production/gentlemen-prefer-blondes-10131 | publisher=Internet Broadway Database | title=Gentlemen Prefer Blondes: About This Production | accessdate=June 26, 2023 | archiveurl=https://web.archive.org/web/20230405204744/https://www.ibdb.com/broadway-production/gentlemen-prefer-blondes-10131 | archivedate=April 5, 2023}}</ref>), Broadway debut in September 1926,<ref name="HG p. 201">{{harvnb|Henderson|Greene|2008|ps=.|p=201}}</ref><ref name="nyt-1926-09-29">{{Cite news |last=Atkinson |first=J. Brooks |date=1926-09-29 |title=The Play; Blondes Preferred. |language=en-US |work=The New York Times |url=https://www.nytimes.com/1926/09/29/archives/the-play-blondes-preferred.html |access-date=2022-04-13 |issn=0362-4331 |archive-date=April 13, 2022 |archive-url=https://web.archive.org/web/20220413162259/https://www.nytimes.com/1926/09/29/archives/the-play-blondes-preferred.html |url-status=live}}</ref><ref>{{cite web | url=https://archive.vanityfair.com/article/1926/10/gentlemen-prefer-blondes | title=Gentlemen Prefer Blondes &#124; Vanity Fair }}</ref> running for 199<ref>{{cite web | url=https://www.broadwayworld.com/shows/backstage.php?showid=317541 | title=Gentlemen Prefer Blondes - 1926 Broadway - Backstage & Production Info }}</ref> performances in two theaters,<ref name="HG p. 202">{{harvnb|Henderson|Greene|2008|ps=.|p=202}}</ref><ref name="nyt-1926-09-29"/><ref name="The Broadway League 1926">
*{{cite web |author=The Broadway League |date=September 28, 1926 |title=Gentlemen Prefer Blondes – Broadway Play – Original |url=https://www.ibdb.com/broadway-production/gentlemen-prefer-blondes-10131 |access-date=April 12, 2022 |website=[[Internet Broadway Database|IBDB]] |archive-date=April 12, 2022 |archive-url=https://web.archive.org/web/20220412024341/https://www.ibdb.com/broadway-production/gentlemen-prefer-blondes-10131 |url-status=live}}
*{{cite web |title=Gentlemen Prefer Blondes (Broadway, Times Square Theatre, 1926) |url=https://playbill.com/productions/gentlemen-prefer-blondesbroadway-times-square-theatre-1926 |access-date=2022-04-12 |website=Playbill |language=en |archive-date=April 12, 2022 |archive-url=https://web.archive.org/web/20220412021342/https://playbill.com/productions/gentlemen-prefer-blondesbroadway-times-square-theatre-1926 |url-status=live}}</ref> closing at the [[Times Square Theater]], in April 1927.<ref>{{cite web | url=https://www.ibdb.com/broadway-production/gentlemen-prefer-blondes-10131 | title=Gentlemen Prefer Blondes – Broadway Play – Original &#124; IBDB }}</ref><ref>{{cite web | title=Gentlemen Prefer Blondes (Broadway, Times Square Theatre, 1926) | website=Playbill | date=14 December 2015 | url=https://www.playbill.com/productions/gentlemen-prefer-blondesbroadway-times-square-theatre-1926 | access-date=12 February 2024}}</ref>

=== 1927-1931: Leisure time ===
[[File:Anita loos.jpg|thumb|220px|Anita Loos {{circa}} 1930s|left]]
When ''But Gentlemen Marry Brunettes'' was published in 1927, Emerson proposed another European vacation and went ahead of Loos. A seriously ill Loos followed him, coming down with a sinus attack in Vienna. She and the [[Otolaryngology|ear, nose and throat]] specialist who was treating her came up with a method of fixing Emerson's hypochondria.<ref name="Carey"/> The doctor arranged a bit of sham surgery for him and presented him with the [[Polyp (medicine)|polyps]] that had been supposedly removed from his vocal cords. This placebo treatment did the trick, they returned with a cured Emerson. Not wanting to undo all her efforts, Loos retired to a life of leisure.

The first film version of ''[[Gentlemen Prefer Blondes (lost film)|Gentlemen Prefer Blondes]]'' (now lost) was released in 1928 starring [[Ruth Taylor (actress)|Ruth Taylor]] as Lorelei Lee and [[Alice White]] as Dorothy. It was somewhat of a flop.<ref>{{Cite news|url=https://www.theguardian.com/film/2016/jan/11/anita-loos-gentlemen-prefer-blondes-screenwriter-silent-era-films|title=Anita Loos – sharp, shameless humour of the 'world's most brilliant woman'|last=Hutchinson|first=Pamela|date=2016-01-11|work=The Guardian|access-date=2019-01-05|language=en-GB|issn=0261-3077}}</ref> From 1927 to 1929, Loos and Emerson traveled extensively, which was hard on Loos's health. All their winters were spent in Palm Beach, where Emerson would indulge in social climbing. Loos was starved of intellectual male companionship and met [[Wilson Mizner]] there, a witty and charming real estate speculator, and in some quarters – [[Confidence trick|confidence man]].<ref name="NYT"/> Though they saw each other every day, the relationship was rumored to have stopped just short of having a full-blown affair. Emerson's throat ailment returned, though he recovered quickly after his second round of "Viennese surgery".

Loos and Emerson traveled to Hollywood for Christmas in 1929 with Loos's new friend, photographer [[Cecil Beaton]], who was part of "the bright young things" crowd. Wilson Mizner had also relocated to Hollywood as a screenwriter. Since Emerson had his own entertainment, Loos was often in the company of Beaton or Mizner. When they returned to New York in the spring of 1930, Emerson expressed his unhappiness at her inattention, threatening a relapse of his throat ailment and Loos would spend much more time alone.<ref name="Carey"/> Emerson had also lost money in [[Wall Street Crash of 1929|the stock market crash]], and suggested she return to work.<ref name="Scribners"/> Loos was not completely unhappy with this, and within a few months had produced a stage adaptation of ''But Gentlemen Marry Brunettes'' and a comedy ''Cherries are Ripe''.

With their income reduced, the couple moved to a residential hotel and did less traveling in 1931. Not long after, Loos came upon a love letter from one of Emerson's conquests. Devastated, Loos offered him a divorce; Emerson refused and suggested they live apart, with him giving her a suitable allowance. Blaming herself for his unhappiness, she moved to an apartment on East Sixty-Ninth Street. However, her new life allowed her finally to spend her portion of what she earned for the couple in any way she liked.<ref name="Carey"/>

=== 1931-1935: MGM screenwriter ===
When the Emerson-Loos team got an offer to write pictures for [[Irving Thalberg]] at [[Metro-Goldwyn-Mayer|MGM]], Emerson refused to go. Loos took the $1,000-a-week salary alone.<ref name="Carey"/>

[[File:Studio Promo Anita Loos Jean Harlow.jpg|320px|thumb|{{center|Jean Harlow and Anita Loos in a publicity photo for ''Red-Headed Woman'' (1932) that pokes fun at her novel Gentlemen Prefer Blondes, in the hands of Harlow (a famous blonde who wore a red wig for the role).}}|alt=]]
The first project Thalberg handed Loos was [[Jean Harlow]]'s ''[[Red-Headed Woman]]'' because [[F. Scott Fitzgerald]] was having no luck adapting [[Katherine Brush]]'s book. Fitzgerald, an accomplished writer of novels like ''[[The Great Gatsby]],'' was fired and replaced by Loos in a predominantly male run studio system. The picture, completed in May 1932, was a smash and established Harlow as a star and put Loos once again in the front rank of screenwriters.<ref name="Jacobs">Jacobs. 1998.</ref>

{{blockquote|"She was a very valuable asset for MGM, because the studio had so many femmes fatales – [[Greta Garbo|Garbo]], [[Joan Crawford|Crawford]], [[Moira Shearer|Shearer]], and Harlow – that we were always on the lookout for 'shady lady' stories. But they were problematic because of the censorship code. Anita, however, could be counted on to supply the delicate double entendre, the telling innuendo. Whenever we had a Jean Harlow picture on the agenda, we always thought of Anita first."  – MGM producer [[Samuel Marx]]<ref name="Carey"/>}}

Loos moved to an apartment in Hollywood, where she was unexpectedly joined by Emerson. Though Emerson expressed contrition about his previous behavior, he did nothing to change it. While Emerson busied himself offering screen tests to young starlets, Loos was now free to see whomever she pleased, including her now quite ill friend Wilson Mizner. Mizner having abused his body with alcohol and drugs, wasted away until dying on April 3, 1932, a date Loos would continue to mark.

At MGM, Loos happily turned out scripts; however, she frequently had to use Emerson as a conduit to communicate with directors and other executives who balked at dealing with a woman on equal footing.<ref name="Carey"/> This worked well to promote the idea they were a happy couple and writing team. She bought a modest house in Beverly Hills in 1934. During the day it was work, and at night parties given by other MGM studio executives or stars, like the Thalbergs, the Selznicks and the Goldwyns. Loos was a frequent attendee at [[George Cukor]]'s Sunday brunches, which was the closest Hollywood had to a literary salon.

In 1935, about the time of the [[Writers Guild of America, west|Writer's Guild]] formation, she was paired with [[Robert Hopkins (screenwriter)|Robert Hopkins]], who would later become a frequent collaborator. Their work on ''[[San Francisco (1936 film)|San Francisco]]'' got an Academy Award nomination for best original screenplay. She based [[Clark Gable]]'s character on some confidence men she had known, including Wilson Mizner.<ref>{{Cite news|url=https://www.washingtonpost.com/archive/lifestyle/1981/08/20/the-loos-legend/86f08486-c2fa-4960-994e-777cce27e094/|title=The Loos Legend|date=1981-08-20|newspaper=The Washington Post|access-date=2019-01-06|language=en-US|issn=0190-8286}}</ref> Thalberg had taken ill again and gave Emerson a two-year contract as a producer at $1,250 a week. By mid-1937 Loos had decided not to renew her contract with MGM; since friend and supporter Thalberg's death in September 1936, things had not been going well at the studio and every film felt like a struggle.<ref name=":1">{{Cite web|url=https://people.com/archive/ageless-anita-loos-talks-of-herself-and-hollywood-vol-2-no-6/|title=Ageless Anita Loos Talks of Herself and Hollywood|website=PEOPLE.com|language=en|access-date=2019-01-06}}</ref> She signed with [[Samuel Goldwyn]], formerly of MGM and now head of [[United Artists]], for $5,000 a week and almost immediately regretted it. Loos soldiered on, working on "unworkable" scripts.

=== 1936-1945: Life alone ===
In October Loos and her brother Clifford checked Emerson into a very expensive sanatorium where he was diagnosed with [[schizophrenia]].<ref name="Scribners"/> Loos, who had always left the finances to Emerson, soon discovered that most of her money was no longer in joint accounts but in his own private accounts.<ref name="Norman"/> Overworked at the studio and under stress from Emerson, she became more and more depressed. Loos promptly bought herself out of her United Artists contract, re-signed with MGM and bought a beach-front house in Santa Monica. After 17 years of marriage in 1937 Loos finally asked Emerson for a divorce and he agreed but would continue to stave off any talk of plans, making finalization impossible.<ref name="Carey"/> When Emerson was deemed well enough to leave the sanatorium, she paid for a nurse to care for him in an apartment of his own.

MGM had bought the film rights to [[Clare Boothe Luce]]'s 1936 smash Broadway hit ''[[The Women (play)|The Women]]'' in 1937. Many writers had, unsuccessfully, taken a stab at a screenplay version. The studio handed it to Loos and veteran scriptwriter [[Jane Murfin]], and three weeks later Loos handed Cukor a script that he loved.<ref name="Jacobs"/> Unfortunately the [[Motion Picture Production Code|censorship board]] did not. They insisted on changing more than 80 lines and the film had to go into production. Loos was apprehensive, but Cukor insisted she do the changes on set, among his all-star bevy of leading ladies on this female-only picture that included Thalberg widow [[Norma Shearer]], [[Joan Crawford]] and [[Rosalind Russell]]. Loos made immediate friends with [[Paulette Goddard]] who was surprisingly well-read.  When [[Hunt Stromberg]], the last producer she respected, left MGM to produce independently; Loos tried to get out of her contract, but by then she had grown into too valuable a property to the studio.

Throughout the [[World War II|war]] Loos wrote screenplays, grew vegetables in her [[Victory garden]] and knitted socks and sweaters for the boys overseas.  She also had houseguests [[Aldous Huxley|Aldous and Maria Huxley]], from England, when World War II began in September 1939. Loos convinced Huxley that it would be safer for his family if they stayed in the United States, and she got him a job adapting screenplays at MGM. Privately she had a new partner who had a drinking problem; the relationship would be short-lived and MGM decided to release her from her contract finally.

=== 1946-1959: Return to New York ===
In the fall of 1946, now a free agent, Loos returned to New York to work on ''Happy Birthday'', a [[William Saroyan|Saroyanesque]] cocktail party comedy written for [[Helen Hayes]].<ref name="Scribners"/> The play had several false starts the previous year, but now proceeded with [[Joshua Logan]] as director, and produced by [[Richard Rodgers|Rodgers]] and [[Oscar Hammerstein II|Hammerstein]]. It opened in Boston, but the audiences hated it at first. Loos kept improving the script throughout the Boston run; when it opened in New York at the [[Broadhurst Theatre|Broadhurst]] it was a hit and ran for 600 performances.<ref name="NYT"/> [[Katharine Hepburn]] was eager to play in the screen version but the Hollywood censors weren't ready for a woman to be "sloshed on screen for two acts and be rewarded with a happy ending." Loos sold her Santa Monica house to her niece and made certain Emerson understood he would not be joining her in New York under any circumstances.

Once again in New York, she and her long time friend, screenwriter [[Frances Marion]], worked on an unproduced play for [[Zasu Pitts]]. A few romances came her way, including [[Maurice Chevalier]]. Two Broadway producers wanted a musical version of ''[[Gentlemen Prefer Blondes (musical)|Gentlemen Prefer Blondes]]'' and brought in [[Joseph Fields]] as co-author. Loos threatened to quit the production unless assured she would never have to speak to Fields again. The show opened in Philadelphia with a then-unknown [[Carol Channing]]. By the time it arrived in New York it was another success. Channing soon was elevated to an A-list star, the show played for 90 weeks and went on tour for another year. The producers closed the show when Channing became pregnant. [[Herman Levin]] commented: "I was convinced the show wouldn't work without Carol, and in my opinion it never has."<ref name="Carey"/> A [[Gentlemen Prefer Blondes (1953 film)|musical film]] version was produced in 1953, directed by [[Howard Hawks]] and adapted by [[Charles Lederer]]. It starred [[Jane Russell]] and [[Marilyn Monroe]]. Loos had nothing to do with the production, but thought Monroe was inspired casting.{{Citation needed|date=September 2024}}

The success of ''Blondes'' the second time around meant Loos had a greater profile than ever before. She moved to a more spacious apartment at the Langdon Hotel and bought a car. In 1950 Loos wrote ''A Mouse is Born'', another novel, and once sent to her publisher, she left her first trip to Europe in 20 years.<ref name="Carey"/> A ''Mouse is Born'' had a lukewarm reception, but by then Loos was already working on a dramatic adaptation of [[Colette]]'s ''[[Gigi (novella)|Gigi]]''.<ref name="Scribners"/> The production was under way before Colette wired that she had found their "Gigi"—she had seen [[Audrey Hepburn]] in a hotel lobby in Monte Carlo.<ref name="Gale"/> Gigi opened in the fall of 1951 and would run until the spring of 1952; by then Hepburn had been elevated to an A-list star, contracted to [[Paramount Pictures]].

Loos worked on more adaptations for the next few years during travels while relocating to an apartment on West Fifty-Seventh Street. The apartment was that of Paul Swan, the aging "Most Beautiful Man in the World".  Her next musical, ''The Amazing Adele'' starring [[Tammy Grimes]] with music by [[Albert Selden]], never got off the ground and swiftly closed. Both Emerson and Helen Hayes' husband, [[Charles MacArthur]], died within a few weeks of each other and the women threw themselves into their work together, with Loos working on an adaptation for Hayes' filming ''[[Anastasia (1956 film)|Anastasia]]'' in London. Loos worked and traveled even while being treated for a painful hand ailment that prevented her from writing. In 1959 Loos opened another Colette adaptation, ''Chéri'', with [[Kim Stanley]] and [[Horst Buchholz]] in the title roles, but it ran for only two months.

=== 1960-1981: Later life and death ===
Loos continued writing as a magazine contributor, appearing regularly in ''[[Harper's Bazaar]]'', ''[[Vanity Fair magazine|Vanity Fair]]'' and ''[[The New Yorker]]''. Biographer Gary Carey notes: "She was a born storyteller and was always in peak form when reshaping a real-life encounter to make an amusing anecdote."<ref name="Carey"/>  Loos began a volume of memoirs, ''A Girl Like I'', published in September 1966. Her 1972 book, ''Twice Over Lightly: New York Then and Now'', was written in collaboration with friend and actress [[Helen Hayes]]. ''Kiss Hollywood Good-by'' (1974) was a Hollywood memoir about her MGM years and would be very successful,<ref name=":1" /> while her book, ''The Talmadge Girls'' (1978) is about the actress sisters [[Constance Talmadge]] and [[Norma Talmadge]] specifically.

Loos would become a virtual New York institution, an assiduous partygoer and diner-out; conspicuous at fashion shows, theatrical and movie events, balls and galas.<ref name="NYT"/> A celebrity anecdotalist, she was also never one to let facts spoil a good story: {{blockquote|With each book came a new spate of interviews and as one of the last survivors of the silent era, Anita's stories became more exaggerated and she was soon reported to have sold her first scenario at the age of 12. She continued to thrive on interesting people and interesting activities – and held an opinion on everything – but worked hard on keeping the vivacious and flippant image and hiding her loneliness.<ref name="Beauchamp"/>}} She once commented, "I've enjoyed my happiest moments when trailing a [[Mainbocher]] evening gown across the sawdust-covered floor of a saloon."<ref>Loos, 1966, p. 36.</ref>

She was interviewed in the television documentary series ''[[Hollywood (British TV series)|Hollywood: A Celebration of the American Silent Film]]'' (1980).<ref>{{cite video| people =Brownlow, Kevin; Gill, David| title =Hollywood: A Celebration of the American Silent Film| url =https://www.amazon.com/dp/6301931556| medium =video| publisher =Thames Video Production| date =1980}}</ref>

After spending several weeks with a lung infection, Anita Loos suffered a heart attack and died in Manhattan's [[Doctors Hospital (Manhattan)|Doctors Hospital]] in New York City at the age of 93.<ref name="NYT"/><ref name=":2" /> At the memorial service, friends [[Helen Hayes]], [[Ruth Gordon]], and [[Lillian Gish]], regaled the mourners with humorous anecdotes and [[Jule Styne]] played songs from Loos's musicals, including "[[Diamonds Are a Girl's Best Friend]]".<ref name="Beauchamp"/><ref>{{Cite news|last=Lawson|first=Carol|date=1981-08-28|title=With the Joy She Requested, Anita Loos Is Bade Farewell|language=en-US|work=The New York Times|url=https://www.nytimes.com/1981/08/28/obituaries/with-the-joy-she-requested-anita-loos-is-bade-farewell.html|access-date=2020-08-04|issn=0362-4331}}</ref>

==Popular culture==
*Loos is portrayed in a thinly disguised manner by [[Tatum O'Neal]], as the character ''Alice Forsyte'', in [[Peter Bogdanovich]]'s look back at early silent filmmaking in the film ''[[Nickelodeon (film)|Nickelodeon]]''.
*In the second season of HBO's ''[[Perry Mason (2020 TV series)]]'' the character Anita St. Pierre, played by Jen Tullock, is based on Loos.

==Works==
{{Library resources box|by=yes|lcheading=Loos, Anita, 1893-1981 }}

*''Anita Loos Rediscovered: Film Treatments and Fiction by Anita Loos, Creator of Gentlemen Prefer Blondes''<ref>{{cite book | url=https://www.ucpress.edu/book/9780520228948/anita-loos-rediscovered | isbn=978-0-520-22894-8 | title=Anita Loos Rediscovered: Film Treatments and Fiction by Anita Loos, Creator of Gentlemen Prefer Blondes | date=November 2003 | last1=Loos | first1=Anita | publisher=University of California Press }}</ref>
:Author:	Anita Loos
:Editors:	[[Cari Beauchamp]], [[Mary Loos]]
:Publisher	: [[University of California Press]], 2003
:{{ISBN	| 9780520228948}}

===Fiction===
*''[[Gentlemen Prefer Blondes (novel)|Gentlemen Prefer Blondes: The Intimate Diary of a Professional Lady]]''. NY: Boni & Liveright, 1925
*''[[But Gentlemen Marry Brunettes]]''. NY: Boni & Liveright, 1927
*''[[A Mouse Is Born]]''. NY: Doubleday & Company, 1951
*''[[No Mother to Guide Her (Anita Loos novel)|No Mother to Guide Her]]''. 
::NY: McGraw Hill, 1961
::London: Arthur Barker Ltd., 1961<ref>{{cite web | url=https://books.google.com/books?id=BAKfPQAACAAJ | title=No Mother to Guide Her | last1=Loos | first1=Anita | date=February 5, 1961 }}</ref>
*''[[Fate Keeps On Happening: Adventures Of Lorelei Lee And Other Writings]]''. NY: Dodd, Mead & Company, 1984

===Nonfiction===
[[File:ANITA LOOS Two.jpg|thumb|180px|Loos' Nonfiction books|alt=]]
* w/John Emerson ''[[How to Write Photoplays]]'' NY: James A McCann,  1920
* w/John Emerson. ''[[Breaking Into the Movies]]''. NY: James A McCann, 1921
* "This Brunette Prefers Work", [[Woman's Home Companion]], 83 (March 1956)
* ''[[A Girl Like I]]''. NY:Viking Press, 1966
* w/Helen Hayes. ''[[Twice Over Lightly: New York Then and Now]]''. NY: Harcourt Brace Jovanovich, 1972
* ''[[Kiss Hollywood Good-by]]''. NY: Viking Press, 1974
* ''[[Cast of Thousands: a pictorial memoir of the most glittering stars of Hollywood]]''. NY: Grosset and Dunlap, 1977
* ''[[The Talmadge Girls]]''. NY: Viking Press, 1978

===Broadway credits===
*''The Whole Town's Talking''  (1923)
*''The Fall of Eve'' (1925)
*''[[Gentlemen Prefer Blondes (play)|Gentlemen Prefer Blondes]]''  (1926)
*''The Social Register''   (1931)
*''[[Happy Birthday (play)|Happy Birthday]]'' (1946)
*''[[Gentlemen Prefer Blondes (musical)|Gentlemen Prefer Blondes]]''  (1949)
*''[[Gigi (play)|Gigi]]''   (1951)
*''[[Chéri (play)|Chéri]]''  (1959)
*''The King's Mare'' (1967)
*''Lorelei''  (1974)

===Film credits===
{{col-begin}}
{{col-break}}
* ''[[My Baby (film)|My Baby]]''  (1912; writer)
* ''[[The Musketeers of Pig Alley]]''  (1912; writer)
* ''[[The New York Hat]]''  (1912; writer)
* ''[[A Narrow Escape]]''  (1913; scenario)
* ''{{ill|The Wedding Gown|it}}''  (1913; scenario)
* ''[[His Hoodoo]]''  (1913; scenario; story "The Making of a Masher")
* ''{{ill|Pa Says|cy||it}}''  (1913; story "The Queen of the Carnival")
* ''[[A Cure for Suffragettes]]''  (1913; story)
* ''{{ill|A Fallen Hero|it}}''  (1913; story)
* ''{{ill|A Horse on Bill|cy|Ceffyl Bill|it}}''  (1913; story)
* ''{{ill|Binks' Vacation|cy||it}}''  (1913; story)
* ''{{ill|Highbrow Love|cy||it}}''  (1913; story)
* ''{{ill|How the Day Was Saved|cy|How The Day Was Saved|it}}''  (1913; story)
* ''{{ill|Oh, Sammy!|it}}''  (1913; story)
* ''{{ill|The Hicksville Epicure|cy||it}}''  (1913; story)
* ''{{ill|The Power of the Camera|it}}''  (1913; story)
* ''{{ill|The Suicide Pact|it|The Suicide Pact (film 1913)}}''  (1913; story)
* ''[[His Awful Vengeance]]''  (1913; writer)
* ''{{ill|The Lady in Black (1913 film)|it|The Lady in Black (film 1913)}}''  (1913; writer)
* ''[[The Mistake (film)|The Mistake]]''  (1913; writer)
* ''[[The Telephone Girl and the Lady]]''  (1913; writer)
* ''{{ill|The Widow's Kids|it}}''  (1913; writer)
* ''[[The Sisters (1914 film)|The Sisters]]''  (1914/I; scenario)
* ''[[A Lesson in Mechanics]]''  (1914; scenario)
* ''[[Nearly a Burglar's Bride]]''  (1914; scenario)
* ''[[Some Bull's Daughter]]''  (1914; scenario)
* ''[[The Deceiver (1914 film)|The Deceiver]]''  (1914; scenario)
* ''[[The Road to Plaindale]]''  (1914; scenario)
* ''[[The Saving Grace]]''  (1914; scenario)
* ''[[The Saving Presence]]''  (1914; scenario)
* ''[[A Corner in Hats]]''  (1914; story)
* ''[[A Flurry in Art]]''  (1914; story)
* ''[[Gentleman or Thief]]''  (1914; story)
* ''[[Nell's Eugenic Wedding]]''  (1914; story)
* ''[[The Fatal Dress Suit]]''  (1914; story)
* ''[[The Man on the Couch]]''  (1914; story)
* ''[[The Million Dollar Bride]]''  (1914; story)
* ''{{ill|The Gangsters of New York|cy||it}}''  (1914; uncredited)
* ''{{ill|A Bunch of Flowers|it}}''  (1914; writer)
* ''[[Billy's Rival]]''  (1914; writer)
* ''[[For Her Father's Sins]]''  (1914; writer)
* ''[[Izzy and His Rival]]''  (1914; writer)
* ''[[The Girl in the Shack]]''  (1914; writer)
* ''[[The Hunchback (1914 film)|The Hunchback]]''  (1914; writer)
* ''[[The Last Drink of Whiskey]]''  (1914; writer)
* ''[[The White Slave Catchers]]''  (1914; writer)
* ''{{ill|When the Road Parts|it}}''  (1914; writer)
* ''{{ill|A Ten-Cent Adventure|it}}''  (1915; scenario)
* ''[[Mixed Values]]''  (1915; scenario)
* ''[[The Deacon's Whiskers]]''  (1915; scenario)
* ''[[The Lost House]]''  (1915; scenario)
* ''[[The Fatal Finger Prints]]''  (1915; writer)
* ''[[Stranded (1916 drama film)|Stranded]]''  (1916/I; writer)
* ''[[Macbeth (1916 film)|Macbeth]]''  (1916; intertitles)
* ''[[A Calico Vampire]]''  (1916; scenario)
* ''{{ill|Laundry Liz|cy||fr}}''  (1916; scenario)
* ''{{ill|The French Milliner|cy||fr||it}}''  (1916; scenario)
* ''[[The Americano (1916 film)|The Americano]]''  (1916; scenario; titles)
* ''[[The Wharf Rat]]''  (1916; screenplay; story)
* ''[[A Corner in Cotton]]''  (1916; story)
* ''[[American Aristocracy]]''  (1916; story)
* ''[[Intolerance (film)|Intolerance: Love's Struggle Throughout the Ages]]''  (1916; titles)
* ''[[The Mystery of the Leaping Fish]]''  (1916; titles)
* ''[[A Wild Girl of the Sierras]]''  (1916; writer)
* ''[[His Picture in the Papers]]''  (1916; writer)
* ''[[The Children Pay]]''  (1916; writer)
{{col-break}}
* ''[[The Half-Breed (1916 film)|The Half-Breed]]''  (1916; writer)
* ''[[The Little Liar]]''  (1916; writer)
* ''{{ill|The Matrimaniac|cy||fi|Mamman vallan alla (vuoden 1916 elokuva)}}''  (1916; writer)
* ''{{ill|The Social Secretary|cy||fi||fr|La Secrétaire particulière|it|The Social Secretary (film 1916)}}''  (1916; writer)
* ''[[In Again, Out Again]]''  (1917/II; writer)
* ''[[A Daughter of the Poor]]''  (1917; writer)
* ''[[Down to Earth (1917 film)|Down to Earth]]''  (1917; writer)
* ''[[Reaching for the Moon (1917 film)|Reaching for the Moon]]''  (1917; writer)
* ''[[Wild and Woolly (1917 film)|Wild and Woolly]]''  (1917; writer)
* ''[[Good-Bye, Bill]]''  (1918; screenplay; producer; story Gosh Darn the Kaiser)
* ''[[Hit-The-Trail Holliday]]''  (1918; writer)
* ''[[Let's Get a Divorce]]''  (1918; writer)
* ''[[Come On In (film)|Come on In]]''  (1918; writer; producer)
* ''[[A Virtuous Vamp]]''  (1919; scenario)
* ''[[A Temperamental Wife]]''  (1919; scenario; producer)
* ''[[Oh, You Women!]]''  (1919; scenario; story)
* ''[[Under the Top]]''  (1919; story)
* ''[[Getting Mary Married]]''  (1919; writer)
* ''[[The Isle of Conquest]]''  (1919; writer)
* ''[[The Branded Woman]]''  (1920; adaptation)
* ''[[Dangerous Business (1920 film)|Dangerous Business]]''  (1920; producer; writer)
* ''[[Two Weeks (1920 film)|Two Weeks]]''  (1920; scenario)
* ''[[The Perfect Woman (1920 film)|The Perfect Woman]]''  (1920; screenplay; story)
* ''[[The Love Expert]]''  (1920; writer; producer)
* ''[[In Search of a Sinner]]''  (1920; writer; producer; uncredited)
* ''[[Woman's Place]]''  (1921; story)
* ''[[Mama's Affair (1921 film)|Mama's Affair]]''  (1921; writer)
* ''[[Polly of the Follies]]''  (1922; screenplay; story)
* ''[[Red Hot Romance]]''  (1922; screenplay; story; executive producer)
* ''[[Dulcy (1923 film)|Dulcy]]''  (1923; writer)
* ''[[Three Miles Out]]''  (1924; writer)
* ''[[Learning to Love]]''  (1925; screenplay; story)
* ''[[The Whole Town's Talking (1926 film)|The Whole Town's Talking]]''  (1926; play)
* ''[[Stranded (1927 film)|Stranded]]''  (1927; story)
* ''[[Gentlemen Prefer Blondes (lost film)|Gentlemen Prefer Blondes]]''  (1928; novel; screenplay; titles)
* ''[[The Fall of Eve]]''  (1929; story)
* ''[[Ex-Bad Boy]]''  (1931; story "The Whole Town's Talking")
* ''[[The Struggle (1931 film)|The Struggle]]''  (1931; writer)
* ''[[Blondie of the Follies]]''  (1932; dialogue)
* ''[[Red-Headed Woman]]''  (1932; writer)
* ''[[Hold Your Man]]''  (1933; screenplay; story)
* ''[[Midnight Mary]]''  (1933; story)
* ''[[The Barbarian (1933 film)|The Barbarian]]''  (1933; writer)
* ''[[The Girl from Missouri]]''  (1934; original screenplay)
* ''[[The Cat and the Fiddle (film)|The Cat and the Fiddle]]''  (1934; screenplay contributor; uncredited)
* ''[[Social Register (film)|Social Register]]''  (1934; story)
* ''[[Biography of a Bachelor Girl]]''  (1935; writer)
* ''[[Riffraff (1936 film)|Riffraff]]''  (1936; screenplay)
* ''[[San Francisco (1936 film)|San Francisco]]''  (1936; writer)
* ''[[Saratoga (film)|Saratoga]]''  (1937; screenplay; story)
* ''[[Mama Steps Out]]''  (1937; writer)
* ''[[The Cowboy and the Lady (1938 film)|The Cowboy and the Lady]]''  (1938; contributing writer; uncredited)
* ''[[Another Thin Man]]''  (1939; contributing writer; uncredited)
* ''[[The Women (1939 film)|The Women]]''  (1939; screenplay)
* ''[[Babes in Arms (film)|Babes in Arms]]''  (1939; uncredited)
* ''[[Strange Cargo (1940 film)|Strange Cargo]]''  (1940; adaptation; uncredited)
* ''[[Susan and God]]''  (1940; screenplay)
* ''[[Blossoms in the Dust]]''  (1941; screenplay)
* ''[[When Ladies Meet (1941 film)|When Ladies Meet]]''  (1941; screenplay)
* ''[[They Met in Bombay]]''  (1941; writer)
* ''[[I Married an Angel]]''  (1942; screenplay)
* ''[[A Tree Grows in Brooklyn (1945 film)|A Tree Grows in Brooklyn]]''  (1945 uncredited)
* ''[[The Buick Circus Hour]]''  (1952; teleplays)
* ''[[Gentlemen Prefer Blondes (1953 film)|Gentlemen Prefer Blondes]]''  (1953; play)
* ''[[Gentlemen Marry Brunettes]]''  (1955; novel "But Gentlemen Marry Brunettes")
* ''[[Producers' Showcase]]'' "Happy Birthday"  (1956; writer)
{{col-end}}

== See also ==
* [[Mary Loos]]
{{Portal bar|Biography}}

==References==

===References===
{{Reflist|2}}

===Bibliography===
{{Refbegin}}
* {{cite book |author=Acker, Ally|title=Reel women: pioneers of the cinema 1896 to the present |publisher=Batsford |location=London |year=1991 |isbn=0-7134-6960-9 }}
* {{cite book |author=Beauchamp, Cari |title=Without lying down: Frances Marion and the powerful women of early Hollywood |publisher=University of California Press |location=Berkeley |year=1997 |isbn=0-520-21492-7 }}
* {{cite book |author=Carey, Gary |title=Anita Loos: a biography |publisher=A.A. Knopf |location=New York |year=1988 |isbn=0-394-53127-2 }}
* {{cite book |author=Funk, Charles Earle|author-link=Charles Earle Funk|title=What's the Name, Please? |publisher=Funk & Wagnalls |location=New York |year=1936 }}
* {{cite book |title=Encyclopedia of World Biography Supplement, Vol. 21. |publisher=Gale Group |location=New York, N.Y |year=2001 }}
*{{cite book |last1=Henderson |first1=Mary C. |url=https://archive.org/details/storyof42ndstree00hend/mode/2up |title=The story of 42nd Street: the theaters, shows, characters, and scandals of the world's most notorious street |last2=Greene |first2=Alexis |date=2008 |publisher=Back Stage Books |isbn=978-0-8230-3072-9 |publication-place=New York |oclc=190860159 |url-access=registration}}
* {{cite book |author1=Jacobs, Katrien |author2=Foster, Gwendolyn Audrey |author3=Unterburger, Amy L. |title=Women filmmakers & their films |publisher=St. James Press |location=London |year=1998 |isbn=1-55862-357-4 |url-access=registration |url=https://archive.org/details/womenfilmmakerst0000unse }}
* {{cite book |author=Loos, Anita |title=A Girl Like I |publisher=The Viking press |location=New York |year=1966 |isbn=0-670-34112-6 }}
* {{cite book |author=Loos, Anita |title=Kiss Hollywood Good-by |publisher=Viking Press |location=New York |year=1974 |isbn=0-670-41374-7 |url=https://archive.org/details/kisshollywoodgoo00loos }}
* {{cite book |author=Loos, Anita |title=Cast of Thousands |publisher=Grosset and Dunlap |location=New York |year=1977 |isbn=0-448-12264-2 |url=https://archive.org/details/castofthousands00loos }}
* Loos, R. Beers. "Anita's Dad Spills the Frijoles," ''[[Photoplay]]'', August 1928, p.&nbsp;47.
* {{cite book |author=Norman, Marc |title=What Happens Next: A History of American Screenwriting |publisher=Harmony |location=New York, N.Y |year=2007 |isbn=978-0-307-38339-6 |url=https://archive.org/details/whathappensnexth00norm }}
* {{cite journal |last=Schmidt |first=Karl |title=The Handwriting on the Screen |journal=[[Everybody's Magazine]] |date=June 1917 |volume=36 |pages=622–23 }}
* {{cite book |title= The Scribner Encyclopedia of American Lives, Volume 1: 1981–1985 |publisher= Charles Scribner's Sons |location=New York, N.Y |year=1998 }}
* {{cite news | first=Alden | last=Whitman | title=Anita Loos Dead at 93; Screenwriter, Novelist | date=August 19, 1981 | url=https://select.nytimes.com/search/restricted/article?res=F20D1EF63E5F0C7A8DDDA10894D9484D81 | work =The New York Times | access-date = 2008-04-06 }}

{{Refend}}

==External links==
{{wikisource|works=or}}
{{wikiquote}}
{{Commons category|Anita Loos}}
* {{IMDb name|0002616}}
* {{IBDB name}}
* {{iobdb name|5968}}
* [https://wfpp.cdrs.columbia.edu/pioneer/ccp-anita-loos/ Anita Loos] {{Webarchive|url=https://web.archive.org/web/20190820195430/https://wfpp.cdrs.columbia.edu/pioneer/ccp-anita-loos/ |date=August 20, 2019 }} at the Women Film Pioneers Project
* [http://www.nypl.org/archives/4496 Anita Loos papers, 1917–1981], held by the Billy Rose Theatre Division, [[New York Public Library for the Performing Arts]]
* [http://id.lib.harvard.edu/aleph/010248552/catalog Anita Loos papers, 1917-1979] at [[Houghton Library]], Harvard University
* [http://www.afi.com/members/catalog/SearchResult.aspx?s=1&Type=PN&Tbl=&CatID=DATABIN_WRITER&ID=13101&searchedFor=Anita_Loos_&SortType=ASC&SortCol=RELEASE_YEAR AFI Catalog entry for Anita Loos]
* [http://www.public.asu.edu/~ialong/Taylor51.txt Some contemporary articles and interviews with Anita Loos]
* {{StandardEbooks|Standard Ebooks URL=https://standardebooks.org/ebooks/anita-loos}}
* {{Librivox author |id=16286}}

{{Anita Loos|state=expanded}}
{{Gentlemen Prefer Blondes}}
{{Authority control}}

{{DEFAULTSORT:Loos, Anita}}
[[Category:1888 births]]
[[Category:1981 deaths]]
[[Category:20th-century American dramatists and playwrights]]
[[Category:20th-century American novelists]]
[[Category:20th-century American women novelists]]
[[Category:20th-century American memoirists]]
[[Category:American women dramatists and playwrights]]
[[Category:American women screenwriters]]
[[Category:People from Great Neck, New York]]
[[Category:People from Mount Shasta, California]]
[[Category:American women memoirists]]
[[Category:Writers from Los Angeles]]
[[Category:Novelists from New York (state)]]
[[Category:Writers from San Francisco]]
[[Category:Novelists from California]]
[[Category:Women film pioneers]]
[[Category:People from Siskiyou County, California]]
[[Category:Screenwriters from California]]
[[Category:People from Gramercy Park]]
[[Category:Writers from Manhattan]]
[[Category:Screenwriters from New York City]]
[[Category:20th-century American screenwriters]]
[[Category:San Diego High School alumni]]
[[Category:Actresses from Manhattan]]