Pauline Kael - Brian Kellow [251]
240 “She liked Brian a lot and there I was, the girlfriend”: Ibid.
241 “a fantasy burlesque”: Women’s Wear Daily, November 12, 1976.
241 “incompetent”: Ibid.
241 “like a Village crazy”: Kael, The New Yorker (December 6, 1976).
241 “is turning us into morons and humanoids”: Ibid.
241 “TV may have altered family life and social intercourse”: Ibid.
241 “directly to the audience—he soapboxes”: Ibid.
241 “the soliloquies going at a machine-gun pace”: Ibid.
241 “I’m as mad as hell”: Paddy Chayevsky, screenplay of Network, 1976.
241 “I’m going to make him an offer he can’t refuse”: Francis Ford Coppola, screenplay of The Godfather, 1972.
242 “I’m not going to write about this one, darling”: Author interview with Lamont Johnson, April 26, 2009.
242 “she acts a virtuous person”: Kael, The New Yorker (January 10, 1977).
242 “a drippy love story about two people who love each other selflessly”: Ibid.
242 “fake gospel”: Ibid.
242 “Streisand has more talent than she knows what to do with”: Ibid.
242 “Yours was the only notice I saw”: Letter from John Gregory Dunne to Pauline Kael, January 24, 1977.
243 “I will remember all my life”: Author interview with Marthe Keller, November 8, 2010.
243 “We had, in private”: Ibid.
243 “Before it started”: Ibid.
243 “a horrible experience”: Author interview with James Toback, May 21, 2009.
243 “She was not comfortable in Europe”: Author interview with Marthe Keller, November 8, 2010.
244 “I was at Cannes”: Author interview with Robert Altman, June 19, 2004.
244 “You have one person who loves you forever”: Author interview with Marthe Keller, November 8, 2010.
CHAPTER NINETEEN
245 “She respected me because I didn’t lie”: Author interview with Marion Billings, October 23, 2008.
245 “For Marion”: Inscription to Marion Billings from Pauline Kael, Kiss Kiss Bang Bang.
246 “The movie studios aren’t putting up a fight”: Pauline Kael, “The Current Cinema,” The New Yorker (February 28, 1977).
246 “There’s no breather in the picture, no lyricism”: Kael, The New Yorker (September 26, 1977).
246 “no emotional grip”: Ibid.
247 “I told her from the beginning”: Author interview with James Toback, May 21, 2009.
247 “She was quite obsessed with the fact that Hellman was a liar”: Author interview with Richard Albarino, November 9, 2010.
247 “She thought it was ridiculous”: Author interview with Patricia Bosworth, June 28, 2010.
248 “classical humorist”: Kael, The New Yorker (October 10, 1977).
248 “not neurotic or sexually aberrant”: The New York Times, October 31, 1976.
248 “Women in movies have always been defined in terms of men”: The New York Times, October 31, 1976.
248 “pulpy morbidity”: Kael, The New Yorker (October 24, 1977).
248 “erotic, modern-Gothic compulsiveness”: Ibid.
248 “windy jeremiad”: Ibid.
248 “an illustrated lecture on how nice girls go wrong”: Ibid.
248 “It’s what nice people do”: Ibid.
248 “a powerful enough personality”: Ibid.
249 “a child’s playfulness and love of surprises”: Kael, The New Yorker (November 28, 1977).
249 “one of the peerless moments in movie history”: Ibid.
249 “probably the most gifted American director who’s dedicated to sheer entertainment”: Ibid.
249 “how the financially pinched seventies generation ”: Kael, The New Yorker (December 26, 1977).
249 “a TV-commercial version of Art Deco”: Ibid.
249 “There is a thick, raw sensuality that some adolescents have which seems almost preconscious”: Ibid.
250 “a mixture of undeveloped themes”: Kael, The New Yorker (February 20, 1978).
250 “evocative of that messy time”: Ibid.
251 “trying to act without her usual snap”: Ibid.
251 “There’s a strong enough element of self-admiration”: Ibid.
251 “We started before we were ready”: The New York Times, February 19, 1978.
251 “Blue Collar says the system grinds all workers down”: Kael, The New Yorker (February 27, 1978).
252 “It was so much easier in the ‘60s”: Paul Mazurky’s screenplay of An Unmarried Woman, 1978.
252 “PATTI: I mean, everybody I know is either miserable or divorced”: Ibid.
252 “We thought