Pauline Kael - Brian Kellow [239]
75 “The strong director imposes his own personality”: Andrew Sarris, The American Cinema: Directors and Directions, 1929–1968 (New York: E. P. Dutton), 31.
75 “Ultimately, the auteur theory”: Ibid., 30.
76 “If I had not been aware of Walsh”: Gerald Mast and Marshall Cohen, eds., Film Theory and Criticism (New York: Oxford University Press, 1979), 665.
76 “Would Sarris not notice the repetition”: Pauline Kael, I Lost It at the Movies (Boston: Atlantic–Little, Brown, 1965), 294.
76 “The greatness of critics like Bazin in France”: Ibid., 295.
76 “technical competence”: Ibid.
76 “The greatness of a director like Cocteau”: Ibid., 296.
76 “the distinguishable personality of the director as a criterion of value”: Ibid.
76 “The smell of a skunk”: Ibid., 297.
77 “because Hitchcock repeats”: Ibid.
77 “not so much a personal style as a personal theory of audience psychology”: Ibid., 298.
77 “interior meaning”: Ibid., 302.
77 “extrapolated from the tension”: Ibid., 302.
77 “the opposite of what we have always taken for granted in the arts”: Ibid.
77 “Their ideal auteur is the man who signs a long-term contract”: Ibid.
77 “I suspect that the ‘stylistic consistency’”: Ibid., 306.
78 “What’s the matter?”: Author interview with Andrew Sarris, February 17, 2009.
78 “She was always on the boil”: Ibid.
78 “I wasn’t as worldly and aggressive”: Ibid.
78 “Pauline acted as if I were a great menace of American criticism”: Ibid.
78 “attack on the theory received more publicity”: Sarris, The American Cinema, 26.
CHAPTER EIGHT
80 “Growing numbers of middle-class consumers”: Todd Gitlin, The Sixties: Years of Hope, Days of Rage (New York: Bantam, 1987), 16.
80 “The rock ’n’ roll generation”: Ibid., 6.
81 “The Associated Press picked up the editorial”: Author interview with Judith Crist, July 17, 2008.
82 “The Group is the book that Mary McCarthy’s admirers have been waiting for”: Pauline Kael, unpublished review of The Group, September 1963.
83 “rather fruitless to care so much about how fairly”: Letter from Elizabeth Hardwick to Pauline Kael, September 14, 1963.
83 “the general recommendations which are truly not too radical”: Letter from Peter Davison to Pauline Kael, July 16, 1964.
83 “some of the very best pieces were marred by being too long”: Ibid.
84 “It’s all right, I want to say”: Eudora Welty, “Is Phoenix Jackson’s Grandson Really Dead?,” Critical Inquiry (September 1974), 220.
84 “were restless and talkative”: Pauline Kael, I Lost It at the Movies (Boston: Atlantic–Little, Brown, 1965), 15.
84 “accepts lack of clarity”: Ibid.
85 “boob who attacks ambiguity and complexity”: Ibid.
85 “more and more people”: Ibid.
85 “There are very few American film critics”: Library Journal, undated review.
85 “the artistry, literacy, fine style and clearheaded reasoning”: Publishers Weekly, undated review.
85 “Never dull, blazingly personal, provokingly penetrating”: Kirkus Reviews, undated review.
85 “I am not certain just what Miss Kael thinks she lost at the movies”: The New York Times Book Review, March 14, 1965.
86 “the surest instinct”: Ibid.
86 “That she is able to analyze”: Ibid.
86 “always gratifying when a friend”: Letter from James Broughton to Pauline Kael, April 2, 1965.
86 “My good wishes to you and Gina”: Ibid.
86 “Billy dear”: Various correspondence from Pauline Kael to William Abrahams.
86 “I don’t really want to do it”: Letter from Pauline Kael to Robert Mills, February 9, 1965.
87 “I think there was a moment”: Author interview with David Young Allen, September 2, 2009.
87 “I know you love California”: Author interview with Dan Talbot, October 7, 2008.
87 “the cover seems to illustrate the title”: Letter from Robert Mills to Marcia Nasatir, November 8, 1965.
87 “In the evenings, especially, Bob and Pauline drank and talked”: Author interview with Tresa Hughes, September 20, 2009.
88 “People shouldn’t marry you”: Play by Pauline Kael, Wearing the Quick Away, housed at the Lilly Library, Indiana University.
88 “how my thumbnails got worn down”: “It’s Only a Movie”: speech by Pauline Kael