Pauline Kael - Brian Kellow [235]
5 “We were so eager for the movie to go on”: Pauline Kael, The Citizen Kane Book (New York: Bantam, 1971).
5 the “Three Amazons”: Author interview with Dana Salisbury, September 20, 2009.
6 “only in a vague sort of way,”: Author interview with Stephanie Zacharek, September 4, 2009.
6 “Chicken ranching?”:, Kann, Comrades and Chicken Ranchers, 65.
6 “a celebration and glorification of materialism”: Kael, I Lost It at the Movies , 79.
6 “not the legendary west”: Ibid., 82.
7 “The summer nights are very long”: Ibid., 88.
7 “My father, who was adulterous”: Ibid., 89.
7 “He put up everything he had as security”: Ibid., 65.
CHAPTER TWO
9 “Pauline had no patience or even any kind of feeling for her mother”: Author interview with Dana Salisbury, September 20, 2009.
9 “these ideas had saved her life”: Ibid.
9 “All of us have probably had the feeling”: Pauline Kael, “The Current Cinema,” The New Yorker (March 13, 1978).
10 “The youngest in a large family has a lot of of advantages”: Mandate (May 1983).
10 “I was quick to understand things”: Ibid.
11 “Pauline looked down with such contempt on my aunt Rose”: Ibid.
12 “one of the best of the social-protest films”: Pauline Kael, 5001 Nights at the Movies (New York: Holt, Rinehart and Winston, 1982), 348.
12 “How do you live?”: Howard J. Green and Brown Holmes, screenplay of I Am a Fugitive from a Chain Gang, 1932.
12 “The girls we in the audience loved were delivering wisecracks”: Leo Ler-man, “Pauline Kael Talks About Violence, Sex, Eroticism and Women & Men in the Movies”: Mademoiselle (July 1972), 15.
12 “suggested an element of lunacy and confusion in the world”: Ibid., 16.
13 “She was crazy, ga-ga, over my dad,”: Author interview with Janna Ritz, February 5, 2009.
13 “Though she came from the theatre”: Kael, 5001 Nights at the Movies, 403.
13 “remarkable modernism”: Ibid.
13 “an amazing vernacular actress”: Ibid., 30.
13 “halfway human”: Ibid., 599.
14 “extraordinary sensual presence”: Ibid., 116.
14 “shiny and attractive”: Ibid., 859.
14 “I don’t know of any other scene”: Kael, The New Yorker (November 27, 1971).
15 “the embodiment of the sensational side of ’30s movies”: Kael, 5001 Nights at the Movies, 466.
15 “hypes it with an intensity”: Kael, 5001 Nights at the Movies, 170.
15 “a gooey collection of clichés”: Ibid., 173.
15 “slams her way through them in her nerviest style”: Ibid.
15 “that made the picture seem almost folk art”: Pauline Kael, Kiss Kiss Bang Bang (Boston: Atlantic–Little, Brown, 1968), 41.
15 “I think I understand what my father meant”: Ibid., 43.
16 “term-paper pomposity”: Mandate (May 1983).
17 “the English are the inheritors of civilization and style”: Untitled college paper by Pauline Kael, housed at the Lilly Library, Indiana University.
17 “immersed in a sensibility”: Interview (April 1989).
18 “the liveliest of his novels”: Kael, The New Yorker (August 6, 1984).
18 “a more earthly kind of greatness”: Ibid.
18 “the best novel in English about what at the time was called ‘the woman question’”: Ibid.
18 “She would come in and inspect the cream on my arms”: Mandate (May 1983).
18 “Oh, that’s how to do it”: Interview (April 1989).
19 “Renoir isn’t a sociologist”: Pauline Kael, I Lost It at the Movies (Boston: Atlantic–Little, Brown,1965), 109.
19 “a triumph of clarity and lucidity”: Ibid., 110.
19 “perhaps the most influential of all French films”: Ibid., 111.
19 “There was always a circle of people around Pauline”: People (April 18, 1983).
20 “Sissie Symmes”: Ekbert Faas, Young Robert Duncan: Portrait of the Poet as Homosexual in Society (Santa Barbara: Black Swallow Press, 1983).
20 “He was attracted to strong-mother-archetype women”: Author interview with Jack Foley, October 9, 2008.
21 “Don’t be foolish—you don’t love me—you will never love me”: Undated note from Pauline Kael to Robert Duncan, housed at the Lilly Library, Indiana University.
21 “For Christ’s sake be analyzed!”: Ibid.
21 “[T]here appears to be nothing between Communist involvement and smug indifference”: Kael, The New Yorker