Pauline Kael - Brian Kellow [250]
229 “not the modern kind”: Ibid.
229 “We could admire him”: Ibid.
229 “the most cheerfully perverse scare movie ever made”: Kael, The New Yorker (November 8, 1976).
230 “Michael Ritchie really had the pulse of America”: Author interview with Barbara Feldon, November 4, 2010.
230 “There hasn’t been a small-town comedy in so long”: Kael, The New Yorker (October 6, 1975).
231 “the shocking messiness of love”: Kael, The New Yorker (February 12, 1972).
231 “perceptions of what I thought no one else knew—and I wasn’t telling”: Kael, The New Yorker (February 12, 1972).
231 “romantic and ironic”: Kael, The New Yorker (October 27, 1975).
231 “Now it is the bad guys”: Women’s Wear Daily, November 17, 1975.
231 “long literary tradition”: Kael, The New Yorker (October 27, 1975).
231 “a powerful, smashingly effective movie”: Ibid.
231 “how crude the poet-paranoid system”: Ibid.
232 “half smile”: Ibid.
232 “so much of a Nicholson role”: Ibid.
232 “externalized approach”: Kael, The New Yorker (December 29, 1975).
232 “As it becomes apparent”: Ibid.
232 “slack-faced and phlegmatic”: Ibid.
232 “his face straining with the effort to be what the Master wants”: Ibid.
232 “Kubrick isn’t taking pictures in order to make movies”: Ibid.
233 “I think it is important to remind everyone”: New York Daily News, January 2, 1976.
233 “intensely, claustrophobically exciting”: Kael, The New Yorker (January 12, 1976).
233 “As the losing battles”: Ibid.
233 “Peckinpah has become so nihilistic”: Ibid.
234 “If God had not meant man to drink”: Letter from Sam Peckinpah to Pauline Kael, December 14, 1976.
234 “She was done completely”: Author interview with James Toback, May 21, 2009.
234 “Miss Wertmuller’s King Kong”: Kael, The New Yorker (February 16, 1976).
234 “If Seven Beauties is all these things, what is it?”: Ibid.
234 “beyond annoyance”: Ibid.
234 “the characters never shut up”: Ibid.
235 “the stated ideas”: Ibid.
235 “raising the consciousness of the masses”: Ibid.
235 “its life-denying spirit”: The Village Voice, February 16, 1976.
235 “may just naturally be an Expressionist”: Kael, The New Yorker (February 9, 1976).
235 “used his own emptiness”: Ibid.
236 “No other film”: Ibid.
236 “He’s still out there!”: Author interview with Joseph Hurley, February 6, 2009.
236 “animation and charm as a movie reviewer”: The New York Times Book Review, April 4, 1976.
236 “I don’t mean to quarrel with Miss Kael’s opinions”: Ibid.
237 “It is always an entertaining book”: Ibid.
237 “What she so often practices now”: The Village Voice, June 11, 1976.
237 “desire to relieve the lonely detachment”: Ibid.
237 “Everything had to be the greatest”: Author interview with Greil Marcus, November 12, 2010.
237 “Did you really mean all that stuff that you wrote about me?”: Ibid.
238 “She just sort of expected”: Ibid.
238 “happy to do any radio or TV that comes up”: Letter from Pauline Kael to William Abrahams, March 16, 1976.
238 “She is not lacking in exigence as an author”: Letter from Peter Davison to Perry Knowlton, June 14, 1976.
238 “too high by far”: Letter from William Abrahams to Perry Knowlton, undated.
239 “as uncomfortable to watch as a backless chair is to sit in”: John Simon, New York (November 15, 1976).
239 “a marvelous toy”: Kael, The New Yorker (October 18, 1976).
239 “shameless, and that’s why—on a certain level—it works”: Kael, The New Yorker (November 29, 1976).
239 “Stallone has the gift of direct communication with the audience”: Ibid.
239 “She screamed at me for doing that”: Author interview with Carrie Rickey, May 9, 2009.
239 “I had proposed back then that the women who directed movies”: Ibid.
239 “Stay away from that feministic stuff ”: Ibid.
240 “a beautiful plot”: Kael, The New Yorker (November 22, 1976).
240 “the wickedest baroque sensibility at large in American movies”: Ibid.
240 “He’s uncommitted to anything except successful manipulation . . . when his camera conveys the motion of dreams”: Ibid.
240 “I think that Brian was just thrilled”: Author interview with