Pauline Kael - Brian Kellow [248]
202 “there was no virtuous side to identify with”: Ibid.
202 “a depressive uncertainty”: Ibid.
202 “When Vietnam finished off the American hero as a righter of wrongs”: Ibid.
203 “corruption seems to be inescapable”: Ibid.
203 “perhaps someone in the head office at Fox”: Ibid.
203 “I invited her to lunch”: Author interview with Lamont Johnson, April 6, 2009.
203 “I am sorry to say”: Author interview with Judith Crist, July 17 2008.
204 “a fuckin’ politician”: Martin Scorsese and Mardik Martin, screenplay of Mean Streets, 1973.
204 “a true original of our period”: Kael, The New Yorker (October 8, 1973).
204 “breaks out so unexpectedly”: Ibid.
204 “the psychological connections”: Ibid.
204 “We were easily discouraged”: Joyce Maynard, “I Remember,” New York (August 18, 1975).
206 “It’s amazing how decisions are forced upon us willy-nilly”: Arthur Laurents’s screenplay of The Way We Were, 1973.
206 “it’s hardly the definitive film about McCarthyism”: American Film (April 1978).
206 “a torpedoed ship full of gaping holes which comes snugly into port”: Kael, The New Yorker (October 15, 1973).
206 “bewildering”: Ibid.
206 “miraculous audience empathy”: Ibid.
206 “caught the spirit of the hysterical Stalinist workhorses”: Ibid.
206 “defensive and aggressive in the same breath”: Ibid.
206 “a gradual conquest of the movie public”: Ibid.
206 “hit entertainment and maybe even memorable entertainment”: Ibid.
207 “Maybe the reason some people have difficulty getting into Altman’s wavelength”: Kael, The New Yorker (October 22, 1973).
207 “He’s not a pusher”: Ibid.
208 “when you hear the improvised dialogue”: Ibid.
208 “But I understand Pauline”: Author interview with Elliott Gould, September 9, 2009.
208 “an erratic comic genius”: Kael, The New Yorker (December 31, 1973).
208 “found a nonaggressive way”: Ibid.
208 “essential sanity”: Ibid.
208 “the base from which he takes flight”: Ibid.
208 “without the lapses that had found”: Ibid.
208 “Allen’s new sense of control over the medium”: Ibid.
209 “The battered adolescent . . . still thinks that’s the secret of happiness”: Ibid.
210 “When you see him on TV”: Kael, The New Yorker (January 7, 1974).
210 “learning about the Catholic Church while I was doing that film”: Author interview with William Friedkin, May 10, 2008.
210 “no indication that Blatty”: Ibid.
210 “The whole movie was balanced on that”: Author interview with William Friedkin, May 10, 2008.
210 “I wonder about those four-hundred and ninety-nine mothers”: Kael, The New Yorker (January 7, 1974).
210 “the biggest recruiting poster”: Ibid.
210 “I found it wrong-headed”: Author interview with William Friedkin, May 10, 2008.
211 “I remember her walking in”: Author interview with Joan Tewkesbury, February 4, 2009.
211 “What you got was this sense of women”: Ibid.
211 “the pensive, delicate romanticism of McCabe, but it isn’t hesitant or precarious”: Kael, The New Yorker (February 4, 1974).
211 “saphead objectivity”: Pauline Kael, Time (March 14, 1968).
211 “Robert Altman spoils other directors’ films for me”: Kael, The New Yorker (February 4, 1974).
212 “Pauline Kael saved McCabe & Mrs. Miller”: Letter from Grover Sales to Pauline Kael, October 22, 1973.
212 “In terms of the pleasure that technical assurance gives an audience”: Kael, The New Yorker (March 18, 1974).
212 “If there is such a thing as a movie sense”: Ibid.
212 “an intellectualized movie—shrewd and artful”: Kael, The New Yorker (March 18, 1974).
213 “I guess you didn’t know that Terry is like a son to me”: Modern Maturity (March–April, 1998).
213 “Tough shit, Bill”: Ibid.
213 “Movie criticism is a happy, frustrating, slightly mad job”: Pauline Kael, acceptance speech, National Book Awards, April 18, 1974.
CHAPTER SEVENTEEN
214 “With her review of Last Tango, I think”: Author interview with Howard Kissel, July 2, 2008.
214 “I would say film critics have power ”: Ibid.
214 “the reputations of virtually every writer in town”: David Denby, “My Life as a Paulette,”