Pauline Kael - Brian Kellow [256]
307 “I don’t want you to take this personally”: Author interview with Daniel Menaker, April 1, 2009.
308 “Whenever she came across something that she felt didn’t sound like her”: Ibid.
308 “lulling, narcotizing musical”: Pauline Kael, “The Current Cinema,” The New Yorker (June 27, 1983).
308 “The film has a real shine”: Kael, The New Yorker (August 8, 1983).
309 “a pleasurable hum”: Kael, The New Yorker (October 17, 1983).
309 “like Tom Wolfe”: Ibid.
309 “far more of an anti-establishmentarian than Tom Wolfe”: Ibid.
309 “reactionary cornerstone”: Ibid.
309 “Someone told me she saw it with a group of her followers”: Author interview with Philip Kaufman, May 7, 2009.
309 “rhapsodic”: Kael, The New Yorker (November 28, 1983).
309 “Her singing voice takes you farther”: Ibid.
309 “And now that she has made her formal debut as a director”: Ibid.
310 “the actors with both eyes on the audience”: Kael, The New Yorker (December 12, 1983).
310 “incredibly vivid”: Ibid.
310 “If Terms had stayed a comedy . . . it might have been innocuous”: Ibid.
310 “There wasn’t a lot of room for bombast”: Author interview with David Edelstein, July 31, 2009.
310 “Shaffer has Salieri declaring war on heaven for gypping him”: Kael, The New Yorker (October 29, 1984).
311 “by showing you Mozart as a rubber-faced grinning buffoon”: Ibid.
311 “a wizard at eager, manic, full-of-life roles”: Ibid.
311 “I was sitting next to her”: Author interview with Judy Karasik, April 8, 2009.
311 “fiercely impressionistic and aggressively untheoretical”: The New York Times Book Review, April 15, 1984.
311 “powerful perceptions and terrific writing”: Ibid.
311 “No auteurist critic”: Ibid.
312 “[Pauline’s] archenemy, Richard Schickel, was there”: Author interview with David Ansen, December 23, 2008.
313 “suggestive and dazzingly empathic”: Kael, The New Yorker (January 14, 1985).
313 “a kind of benign precision”: Ibid.
313 “intelligent and enjoyable”: Ibid.
313 “informed by a spirit of magisterial self-hatred”: Ibid.
313 “What’s remarkable about the film is how two such different temperaments”: Ibid.
313 “If John Huston’s name were not on Prizzi’s Honor”: Kael, The New Yorker, (July 1, 1985).
314 “do anything for the role he’s playing”: Ibid.
314 “a Borgia princess”: Ibid.
CHAPTER TWENTY-FIVE
315 “This tall, gaunt-faced Strange”: Pauline Kael, “The Current Cinema,” The New Yorker (August 12, 1985).
315 “a career out of his terror of expressiveness”: Ibid.
315 “A lot of people thought she was really turned on by Clint Eastwood”: Author interview with Ray Sawhill, April 11, 2009.
316 “His work here is livelier and more companionable than it has been in recent years”: Kael, The New Yorker (September 23, 1985).
316 “using his skills”: Ibid.
316 “I liked the movie’s unimportance”: Kael, The New Yorker (November 4, 1985).
316 “Meryl Streep has used too many foreign accents on us”: Kael, The New Yorker (December 30, 1985).
316 “Spielberg’s The Color Purple is probably the least authentic in feeling”: Ibid.
317 “I can’t eat that!”: Author interview with Charles Simmons, June 29, 2009.
317 “Oh, for Chrissake”: Ibid.
317 “I hated it”: Author interview with Jane Kramer, February 24, 2009.
318 “Probably everyone will agree that the subject of a movie should not place it beyond criticism”: Kael, The New Yorker (December 30, 1985).
318 “We watch him putting pressure on people”: Ibid.
318 “so many widely differing instances of collaboration and resistance”: Ibid.
318 “It’s not just the exact procedures”: Ibid.
318 “appears to be to show you”: Ibid.
318 “The film is diffuse”: Ibid.
318 “The Shoah reaction was especially peculiar”: Author interview with Lillian Ross, August 1, 2009.
319 “I’m upset about how unmoved you represent yourself”: Letter from Dan Talbot to Pauline Kael, January 3, 1986.
320 “You’re often on target”: Ibid.
320 “She had so little use for doctrine”: Author interview with David Edelstein, July 31, 2009.
320 “a Holocaust movie should not be sacrosanct