Pauline Kael - Brian Kellow [258]
334 “a hallucinogenic Feydeau play”: Kael, The New Yorker (November 14, 1988).
334 “Godard with a human face—a happy face”: Ibid.
335 “nowhere to go”: Kael, The New Yorker (February 16, 1989).
335 “mind’s eye he’s always watching the audience watching him”: Ibid.
335 “an actor in the same sense that Robert Taylor was an actor”: Ibid.
335 “wet kitsch”: Ibid.
335 “A disquieting note”: Publishers Weekly (September 9, 1988).
335 “on the whole, Kael’s genuine excitement about film sustains the book”: Ibid.
335 “macabre sensibility”: Kael, The New Yorker (July 10, 1989).
335 “this powerfully glamorous new Batman”: Ibid.
336 “We in the audience are put in the man’s position”: Kael, The New Yorker (August 21, 1989).
336 “such seductive, virtuosic control of film”: Ibid.
336 “In essence, it’s feminist”: Ibid.
336 “I think that in his earlier movies”: Ibid.
337 “the most emotionally wrenching scene I’ve ever experienced at the movies”: Kael, The New Yorker (October 2, 1989).
337 “The wide eyes still miss nothing”: Unpublished memoir by Linda Allen.
338 “surprisingly unlike herself ”: Ibid.
338 “was cool the entire time”: Author interview with Allen Barra, July 16, 2009.
339 “With Pfeiffer in deep-red velvet crawling on the piano like a long-legged Kitty-cat”: Kael, The New Yorker (October 16, 1989).
339 “Are we trying to put kids into some moral-aesthetic safe house?”: Kael, The New Yorker (December 11, 1989).
340 “coziness and slightness”: Kael, The New Yorker (December 25, 1989).
340 “Does Kael orchestrate campaigns inside the film societies?”: The Village Voice, February 4, 1988.
CHAPTER TWENTY-SEVEN
342 “The picture is like the work of a slick ad exec”: Pauline Kael, “The Current Cinema,” The New Yorker (January 8, 1990).
343 “the moviemaking has such bravura that you respond as if you were at a live performance”: Kael, The New Yorker (November 19, 1990).
343 “There’s nothing affected about Costner’s acting or directing”: Kael, The New Yorker (December 17, 1990).
343 “For a brief period in the late sixties and early seventies”: Ibid.
344 “The movies are so shitty now”: Author interview with Owen Gleibman, February 18, 2009.
344 “For a brief, golden time in the ’70s”: Newsweek (March 18, 1991).
344 “At worst, she wasn’t far from a film-world version of Walter Winchell”: L. A. Weekly, March 22, 1991.
344 “enhanced and expanded the filmgoing public’s knowledge and appreciation of world cinema”: Citation, Mel Novikoff Award, San Francisco Film Society, May 2, 1991.
345 “welcome reading at a time when film criticism”: The Los Angeles Times Book Review, September 22, 1991.
346 “Oh—you have Annette O’Toole’s hair!”: Author interview with Charles Taylor, June 15, 2009.
346 “Pauline felt that Molly, once she married Sarris”: Author interview with James Wolcott, August 3, 2010.
347 “I once said, in a fit of frustration”: Author interview with Charles Taylor, June 15, 2009.
347 “These people were all housewives”: Ibid.
347 “And what did your mother do?”: Author interview with Polly Frost, April 11, 2009.
347 “I’m frequently asked”: Pauline Kael, introduction, For Keeps (New York: Dutton, 1994).
347 “I kept bringing up the idea of her work on an autobiography”: Letter from Peggy Brooks to William Abrahams, September 29, 1994.
348 “Oh, just let her grow up”: Author interview with Allen Barra, July 16, 2009.
350 “They write as advocates, both feet on the accelerator”: James Wolcott, “Waiting for Godard,” Vanity Fair (April 1997).
350 “He’s a careerist creep”: Author interview with Charles Taylor, June 15, 2009.
350 “I knew she wasn’t happy about it”: Author interview with James Wolcott, August 3, 2010.
351 “no cartoons, no lyricism—just realism”: Audio interview between Pauline Kael and Ray Sawhill, 2000.
351 “desperate to read and to take in everything”: Ibid.
351 “I thought, when I read that, this is what’s wrong with Wes Anderson’s movies”: Author interview with Steve Vineberg, August 26, 2008.
352 “Sometimes, Charlie and I would go to little shops on the way out to visit her”: Author