Pauline Kael - Brian Kellow [247]
192 “having a seizure onstage”: Ibid.
192 “a study of the aggression in masculine sexuality”: Ibid.
192 “Americans seem to have lost the capacity for being scandalized”: Ibid.
192 “might have been easier on some”: Ibid.
192 “this is a movie people will be arguing about”: Ibid.
192 “I’ve tried to describe”: Ibid.
193 “Bertolucci and Brando have altered the face of an art form”: Kael, The New Yorker (October 28, 1972).
193 “I remember we came out of the movie”: Author interview with Charles Simmons, June 29, 2009.
193 “I saw Last Tango, not with her”: Ibid.
193 “stylistically wasteful and excessive”: The Village Voice, February 1, 1973.
193 “its best scenes are isolated from each other”: Ibid.
194 “Under ordinary circumstances”: Ibid.
194 “That . . . was her last tango with Sarris”: Author interview with Hoyt Spelman, January 15, 2009.
194 “the ultimate princess fantasy”: Kael, The New Yorker (November 11, 1972).
194 “too sensitive for this world”: Ibid.
194 “ridiculously swank”: Ibid.
194 “a writer’s performance”: Ibid.
195 “wanted Frank Perry to direct”: Kael, The New Yorker (November 11, 1972).
195 “I replied that actually we wanted Sam Peckinpah to do the picture”: Letter from John Gregory Dunne to Pauline Kael, November 20, 1972.
195 “a simple matter of economics”: Ibid.
195 “I confess a certain ambivalence about the book”: Letter from John Gregory Dunne to Pauline Kael, December 5, 1972.
196 “Sorry you didn’t get my crude attempt”: Letter from Sam Peckinpah to Pauline Kael, February 21, 1973.
196 “be made into such a shitty film”: Ibid.
196 “Rex and Judith loved”: Ibid.
196 “I trust instinct more than any study of logical conclusions”: David Thompson, Altman on Altman (London: Faber & Faber, 2006), 74.
196 “almost frighteningly non-repetitive”: Kael, The New Yorker (December 23, 1972).
197 “He made me sit down and write a postcard to Pauline Kael”: Author interview with Rene Auberjonois, September 2, 2009.
197 “grimly controlled”: Kael, The New Yorker (December 30, 1972).
197 “an unnecessarily confined and schoolmarmish performance”: Ibid.
197 “a new kind of hip and casually smart screen actor”: Ibid.
198 “Jeremiah signals him back, giving him the finger”: Ibid.
198 “only assume that by that point you were so bored with the film”: Letter from Sydney Pollack to Pauline Kael, January 5, 1973.
198 “to save me the buck twenty”: Letter from Robert Getchell to Pauline Kael, December 31, 1972.
198 “The idea should be for them to keep going with lots of engagement”: Note by Pauline Kael on screenplay of Alice Doesn’t Live Here Anymore, 1974.
199 “a record of the interaction of movies and our national life”: Pauline Kael, Deeper into Movies (Boston: Atlantic–Little, Brown, 1973), xv.
199 “Right now, movie critics have an advantage”: Ibid.
199 “Right now, movie criticism in America seems livelier”: The New York Times Book Review, February 18, 1973.
199 “crisp sentences”: Ibid.
199 “aggressive wit”: Ibid.
199 “she brings to her movies a grounding in literary culture”: Ibid.
199 “Sometimes she drops into a sort of brawling”: Ibid.
199 “excessive praise”: Ibid.
199 “I suspect either that, as a result of seeing too many movies”: Ibid.
200 “the worst movie that I’ve stayed to see”: Kael, The New Yorker (January 20, 1968).
200 “self-satire”: The New York Times Book Review, July 23, 1973.
200 “slow reaction time made her seem daffy”: Ibid.
200 “Who knows what to think about Marilyn Monroe ”: Ibid.
200 “to cosmic proportions”: Ibid.
201 “His strength—when he gets rolling”: Ibid.
201 “a rip-off all right”: Ibid.
201 “a runaway string of perceptions ”: Ibid.
201 “Mailer’s way to perform character assassination”: Ibid.
201 “malevolence that needs to be recognized”: Ibid.
201 “What for?”: Pauline Kael, Introduction, For Keeps, (New York: Dutton, 1994), iii.
201 “That’s right”: Ibid.
CHAPTER SIXTEEN
202 “I live in a rather special world”: Newsweek (February, 1973).
202 “The Watergate hearings”: Pauline Kael, “The Current Cinema,” The New Yorker (October 1, 1973).
202 “The Vietnam