Pauline Kael - Brian Kellow [241]
106 “William Shawn respected, admired, and enjoyed the movie reviews of John McCarten and Brendan Gill”: Author interview with Lillian Ross, August 1, 2009.
107 “It was totally fictitious”: Author interview with John Simon, March 6, 2008.
107 “The only thing she wanted me to do”: Ibid.
107 “I think a certain Anglophilia crept into it very early on”: Marc Smirnoff, The Oxford American (Spring 1992), reprinted in Conversations with Pauline Kael, Will Brantley, ed. (Jackson: University Press of Mississippi, 1996), 157.
108 “Mr. Shawn was always polite and courteous”: Author interview with Jane Beirn, February 20, 2009.
109 “seemed to seek combat”: Author interview with Lillian Ross, August 1, 2009.
109 “The New Yorker has a long-standing tradition of squalor”: Ved Mehta, Remembering Mr. Shawn’s New Yorker: The Invisible Art of Editing (Woodstock, N.Y.: Overlook, 1998), 111.
109 “The emotional shorthand of television”: Pauline Kael, “The Current Cinema,” The New Yorker (March 16, 1968).
110 “presence is so strong ”: Kael, The New Yorker (March 30, 1968).
110 “this fag phantom of the opera”: Ibid.
111 “Does playing a homosexual paralyze him as an actor?”: Kael, The New Yorker (January 18, 1969).
111 “There is something ludicrous and at the same time poignant”: Ibid.
112 “a volatile mixture of fictional narrative”: Kael, The New Yorker (April 6, 1968).
112 “less a document of Maoist thought”: Richard Brody, Everything Is Cinema: The Working Life of Jean-Luc Godard, (New York: Henry Holt, 2008), 306.
112 “We all know that an artist can’t discover anything for himself ”: Kael, The New Yorker (April 6, 1968).
112 “funny, and they’re funny in a new way”: Ibid.
112 “probably never have a popular, international success”: Kael, The New Yorker (October 5, 1968).
113 “a great original work”: Ibid.
113 “perhaps the briefest statement”: Pauline Kael, Kiss Kiss Bang Bang (Boston: Atlantic–Little Brown, 1968), introduction.
113 “Katharine Hepburn is probably the greatest actress of the sound era”: Ibid., 353.
114 “she-Shaw of the movies”: Newsweek (May 20, 1968).
114 “blessedly brilliant”: Ibid.
114 “If Miss Kael has a particular bent as a film critic”: The New York Times Book Review, May 5, 1968.
114 “going great guns at the moment”: Letter from William Abrahams to Robert Mills, June 6, 1968.
115 “the best film critic since Agee”: Letter from Louise Brooks to Pauline Kael, May 26, 1962.
115 “You could have knocked me over with Audrey Hepburn”: Letter to Pauline Kael from Louise Brooks, September 13, 1968.
115 “Going through the index ”: Ibid.
115 “Your picture on the dust cover ”: Ibid.
115 “In life . . . fantastically gifted people”: Kael, The New Yorker (September 28, 1968).
115 “It has been commonly said . . . that the musical Funny Girl”: Ibid.
115 “Most Broadway musicals are dead”: Ibid.
116 “She is not quite up to the task”: The New York Morning Telegraph, September 20, 1968.
116 “The one thing you cannot fault her with is that she is unique”: Ibid.
116 “She simply drips as unself-consciously”: Kael, The New Yorker (September 28, 1968).
117 “Glamour is what Julie Andrews doesn’t have”: Kael, The New Yorker (October 26, 1968).
117 “merely coarsen[ed] her shining nice-girl image”: Ibid.
117 “When an actress has been a star for a long time”: Kael, The New Yorker (November 9, 1968).
118 “She hated that kind of thing”: Author interview with Jane Kramer, February 24, 2009.
118 “there was a always a fair amount of drama in getting the copy out of Penelope Gilliatt”: Author interview with Jane Beirn, February 20, 2009.
119 “Gina was a lovely girl”: Author interview with Tresa Hughes, September 20, 2009.
119 “I think she had more of a sense of fellowship and community on the West Coast”: Ibid.
119 “Brian would say, ‘I’ve got only three three minutes of film’”: Author interview with Rutanya Alda, April 26, 2009.
120 “I did my own share of soul-wrestling”: Interview (April 1989).
120 “a direct and lucid movie”: Kael, The New Yorker (December 28, 1968).
120 “almost magical