Pauline Kael - Brian Kellow [237]
39 “She liked the word ‘precious’”: Author interview with Bruce Baillie, November 5, 2010.
40 “He ‘threw her out’”: Author interview with Joel Singer May 29, 2008.
40 “Pauline is Pauline”: Author interview with Dana Salisbury, September 2009.
40 “what sounded like such a solid thing”: Letter from Robert Horan to Pauline Kael, undated.
40 “excepting the fact”: Letter from Horan to Kael, July 25, 1949.
40 “When it happens to you”: Author interview with Meredith Brody, February 28, 2011.
41 “The pictures of Gina are a delight”: Letter from Horan to Kael, July 25, 1949.
41 “I’m Gina!” “I’m a baby!”: Gina James’s baby book, May–June 1950, housed at the Lilly Library, Indiana University.
41 “a farce for people who read and write”: Orpheus in Sausalito, play by Pauline Kael, housed at Lilly Library.
41 “The world doesn’t find you”: Ibid.
42 “There is not an unintelligent line in The [sic] Shadow of a Man”: The Santa Barbara Star, November 2, 1950.
42 “brash, confident, pugnacious”: Original screen story by Pauline Kael, The Brash Young Man, housed at the Lilly Library.
42 “He became modest and shy”: Ibid.
42 “Mr. Benjamin Burl’s infatuation”: Ibid.
43 “no”: Ibid.
43 “about the substance and quality of a slick-paper magazine story”: Columbia Pictures reader report on The Brash Young Man, housed at the Lilly Library.
43 “its first best chance would be with the magazines”: Ibid.
44 “I was never hungry in my life”: Author interview with Warner Friedman, May 12, 2009.
44 “You never were?”: Ibid.
45 “When Shoeshine opened in 1947”: Pauline Kael, I Lost It at the Movies (Boston: Atlantic–Little, Brown,1965), 114.
46 “somewhat segmented art-film audience”: City Lights, winter 1953.
46 “When the mass audience becomes convinced”: Ibid.
46 “The Chaplin of Limelight is no irreverent little clown”: Ibid.
46 “surely the richest hunk of self-gratification”: Ibid.
46 “My dear, you are a true artist”: Ibid.
46 “The camera emphasis on Chaplin’s eyes”: Ibid.
CHAPTER FIVE
48 “The new wide screen surrounds us”: Pauline Kael, I Lost It at the Movies (Boston: Atlantic–Little, Brown, 1965), 323–24.
48 “When Senator McCarthy identifies himself”: Ibid., 328.
49 “the type of thing I have been trying to get hold of for a long time”: Letter from Penelope Houston to Pauline Kael, July 23, 1954.
50 “What keeps you going?”: Pauline Kael, “The Current Cinema,” The New Yorker (July 4, 2005).
51 “She was the closest thing to somebody who had my kind of vision about movies”: Author interview with Edward Landberg, May 24, 2008.
51 “I hadn’t written notes”: Ibid.
52 “There was a little resistance to the notion”: Author interview with Stephen Kresge, June 15, 2008.
52 “one of the first imaginative approaches to the musical as a film form”: Pauline Kael, Berkeley Cinema Guild notes for Sous les toits de Paris.
52 “not really so ‘great’ as its devotees claim”: Kael, Berkeley Cinema Guild notes for Red River.
52 “My parents hardly ever went to the movies”: Author interview with Carol van Strum, February 11, 2010.
53 “They were doing it”: Ibid.
53 “Landberg was very remote”: Author interview with Ariel Parkinson, November 29, 2009.
54 “We were married for something like a year”: Author interview with Edward Landberg, May 24, 2008.
54 “Pauline and Ed Landberg came for dinner one night”: Author interview with Ariel Parkinson, November 29, 2009.
54 “I soon found out that I couldn’t stand this woman”: Author interview with Edward Landberg, May 24, 2008.
55 “Like a public building designed to satisfy the widest public’s concept of grandeur”: “Movies, the Desperate Art,” Daniel Talbot, ed., Film: An Anthology (Berkeley: University of California Press, 1959), 52.
55 “about as magical as a Fitzpatrick travelogue”: Ibid.
55 “protagonists in any meaningful sense”: Ibid., 65.
56 “been quick to object to a film with a difficult theme”: Ibid., 57.
56 “She was one of the most ethical people I ever knew”: Author interview with David Young Allen, September 9, 2009.
57 “Cinema