Pauline Kael - Brian Kellow [255]
294 “Though I have a better time”: Ibid.
294 “using their power in the same direction that the businessmen of the movies are”: Debate between Jean-Luc Godard and Pauline Kael, reprinted in Camera Obscura, 1982.
294 “It has a lot of magnificent things”: Ibid.
294 “It was a chilling ride back to the city”: Author interview with Sydney Goldstein, February 20, 2009.
295 “could become commonplace”: Kael, The New Yorker (June 25, 1981).
295 “time to breathe”: Ibid.
295 “weren’t hooked on the crap of his childhood”: Ibid.
295 “the first movie in which De Palma”: Kael, The New Yorker (July 27, 1981).
295 “hallucinatory”: Ibid.
295 “I think De Palma has sprung to the place ”: Ibid.
296 “We never really get into the movie because, as Sarah”: Ibid.
CHAPTER TWENTY-THREE
297 “almost as if she were a big, goosey female impersonator”: Pauline Kael, “The Current Cinema,” The New Yorker (October 26, 1981).
297 “She begins to kiss his abdomen passionately, gratefully”: Ibid.
297 “It’s gruesomely silly.” Ibid.
298 “The reason the Voice hated her”: Author interview with David Edelstein, July 31, 2009.
298 “Pauline was so advanced on gay things in her sensibility”: Author interview with James Wolcott, August 3, 2010.
298 “fag phantom of the opera”: Kael, The New Yorker (March 30, 1968).
298 “a soft creature, flamingly nelly”: Kael, The New Yorker (November 9, 1981).
299 “If I make these jokes”: Author interview with Daryl Chin, November 16, 2010.
299 “Forman appears to see Evelyn as some sort of open-mouthed retard”: Kael, The New Yorker (November 23, 1981).
300 “the most emotional movie musical”: Kael, The New Yorker (December 21, 1981).
300 “Despite its use of Brechtian devices”: Ibid.
300 “There’s something new going on—something thrilling”: Ibid.
300 “an enormous amount of dedication and intelligence”: Ibid.
300 “all much peppier and more vital than the actors”: Ibid.
300 “a tiresome, pettishly hostile woman”: Ibid.
301 “It takes Keaton a long time to get any kind of bearings”: Ibid.
301 “pussywhipped”: Author interview with Ray Sawhill, March 20, 2009.
301 “henpecked”: Ibid.
301 “There was no way that she was going to be able to see Reds with an open mind”: Author interview with James Toback, May 2009.
301 “Oh, God, they were so damned nervous”: Author interview with Roy Blount, Jr., September 15, 2008.
302 “I’m a little afraid to say how good”: Kael, The New Yorker (January 18, 1982).
302 “just about marriage”: Ibid.
302 “the kind of performances that in the theater become legendary”: Ibid.
302 “who understands the pleasures to be had”: Kael, The New Yorker (April 19, 1982).
302 “a dream of a movie—a bliss-out”: Kael, The New Yorker (June 14, 1982).
302 “He’s like a boy soprano lilting with joy all through E.T.”: Ibid.
303 “fake-poetic, fake magical way”: Kael, The New Yorker (November 15, 1982).
303 “If the roles made better sense”: Ibid.
303 “a genuine oddity”: Ibid.
303 “Altman keeps looking at the world”: Ibid.
304 “resemble a living person”: Kael, The New Yorker (December 13, 1982).
304 “encrusted with the weighty culture of big themes: evil, tortured souls, guilt”: Kael, The New Yorker (December 27, 1982).
304 “Streep is very beautiful at times”: Ibid.
304 “I’m incapable of not thinking about what Pauline wrote”: The Guardian, Apirl 18, 1997.
305 “anti-acting”: Kael, The New Yorker (March 7, 1983).
305 “Performers such as John Barrymore and Orson Welles and Laurence Olivier”: Ibid.
306 “Oh, shit”: Author interview with Warner Friedman, August 12, 2009.
306 “Movies are not art”: Ibid.
306 “a distant closeness”: Ibid.
306 “Pauline sort of showed a little affection”: Ibid.
CHAPTER TWENTY-FOUR
307 “an incomparable dip-in book”: The Boston Globe, October 29, 1982.
307 “a browser’s delight”: The Chicago Tribune, December 5, 1982.
307 “one of the most profound emotional experience in the history of film”: Pauline Kael, Kiss Kiss Bang Bang (Boston: Little Brown, 1968), 259.
307 “dying with the priest”: Pauline Kael, 5001 Nights at the