Authors: Brian Kellow
Pauline Kael (74 page)
254
“so far beyond anything in his last film,
Carrie
”:
Ibid.
“so far beyond anything in his last film,
Carrie
”:
Ibid.
255
“No Hitchcock thriller was ever so intense”:
Ibid.
“No Hitchcock thriller was ever so intense”:
Ibid.
255
“What she lost was her taste”:
Author interview with Joe Regan, November 10, 2010.
CHAPTER TWENTY“What she lost was her taste”:
Author interview with Joe Regan, November 10, 2010.
256
“Discriminating moviegoers want the placidity of
nice
art”:
Pauline Kael, “The Current Cinema,”
The New Yorker
, September 25, 1978.
“Discriminating moviegoers want the placidity of
nice
art”:
Pauline Kael, “The Current Cinema,”
The New Yorker
, September 25, 1978.
256
“no desire but to please”:
Ibid.
“no desire but to please”:
Ibid.
257
“The trucks give the performances in this movie”:
Ibid.
“The trucks give the performances in this movie”:
Ibid.
257
“took risks”:
Author interview with Jeanine Basinger, November 19, 2010.
“took risks”:
Author interview with Jeanine Basinger, November 19, 2010.
258
“How can Woody Allen present”:
Ibid.
“How can Woody Allen present”:
Ibid.
258
“Surely at root the family problem is Jewish”:
Ibid.
“Surely at root the family problem is Jewish”:
Ibid.
258
“This droll piece of work is his most majestic so far”:
Penelope Gilliatt, “The Current Cinema,”
The New Yorker
(August 7, 1978).
“This droll piece of work is his most majestic so far”:
Penelope Gilliatt, “The Current Cinema,”
The New Yorker
(August 7, 1978).
258
“A wedding. . . . I’m taking this crew, and we’ll be doing weddings”:
Author interview with Robert Altman, June 19, 2004.
“A wedding. . . . I’m taking this crew, and we’ll be doing weddings”:
Author interview with Robert Altman, June 19, 2004.
258
“like a busted bag of marbles”:
Kael,
The New Yorker
(September 25, 1978).
“like a busted bag of marbles”:
Kael,
The New Yorker
(September 25, 1978).
258
“doesn’t like the characters on the screen”:
Ibid.
“doesn’t like the characters on the screen”:
Ibid.
259
“began tuning out on Eva’s tirade”:
The Village Voice,
November 6, 1978.
“began tuning out on Eva’s tirade”:
The Village Voice,
November 6, 1978.
259
“as the truth”:
Kael,
The New Yorker
(November 6, 1978).
“as the truth”:
Kael,
The New Yorker
(November 6, 1978).
259
“It’s like the grievances of someone who has just gone into therapy”:
Ibid.
“It’s like the grievances of someone who has just gone into therapy”:
Ibid.
260
“He was always pushing her to get out ”:
Author interview with Richard Albarino, November 23, 2009.
“He was always pushing her to get out ”:
Author interview with Richard Albarino, November 23, 2009.
260
“was cast out in no uncertain terms”:
Ibid.
“was cast out in no uncertain terms”:
Ibid.
260
“I can remember a couple of times, at least, seeing him turn so red when they would start arguing”:
Author interview with William Whitworth, November 30, 2009.
“I can remember a couple of times, at least, seeing him turn so red when they would start arguing”:
Author interview with William Whitworth, November 30, 2009.
260
“The problem Shawn had with her over and over”:
Ibid.
“The problem Shawn had with her over and over”:
Ibid.
261
“. . . he bats his eyelids”:
Kael,
The New Yorker
(November 27, 1978), galley proof courtesy of William Whitworth.
“. . . he bats his eyelids”:
Kael,
The New Yorker
(November 27, 1978), galley proof courtesy of William Whitworth.
261
“This piece pushes her earthiness at us”:
Ibid.
“This piece pushes her earthiness at us”:
Ibid.
261
“He’s like a young kid pretending to be an old coot”:
Ibid.
“He’s like a young kid pretending to be an old coot”:
Ibid.
261
“Her earthiness, her focus on body functions”:
Ibid.
“Her earthiness, her focus on body functions”:
Ibid.
261
“a commercial for cunnilingus”:
Ibid.
“a commercial for cunnilingus”:
Ibid.
261
“This has to come out”:
Ibid.
“This has to come out”:
Ibid.
261
“long takes and sweeping, panning movements”:
Kael,
The New Yorker
(December 18, 1978).
“long takes and sweeping, panning movements”:
Kael,
The New Yorker
(December 18, 1978).
261
“an astonishing piece of work”:
Ibid.
“an astonishing piece of work”:
Ibid.
261
“his xenophobic yellow-peril imagination”:
Ibid.
“his xenophobic yellow-peril imagination”:
Ibid.
262
“traditional isolationist message: Asia should be left to the Asians”:
Ibid.
“traditional isolationist message: Asia should be left to the Asians”:
Ibid.
262
“We have come to expect a lot from De Niro: miracles”:
Ibid.
“We have come to expect a lot from De Niro: miracles”:
Ibid.
262
“Pardon me—he’s someone you babysat!”:
Author interview with Daryl Chin, November 16, 2010.
“Pardon me—he’s someone you babysat!”:
Author interview with Daryl Chin, November 16, 2010.
262
“When I see something as huge, as rich”:
Letter from Owen Gleiberman to Pauline Kael, March 13, 1979.
“When I see something as huge, as rich”:
Letter from Owen Gleiberman to Pauline Kael, March 13, 1979.
262
“the American movie of the year—a new classic”:
Kael,
The New Yorker
(March 15, 1976).
“the American movie of the year—a new classic”:
Kael,
The New Yorker
(March 15, 1976).
262
“the San Francisco brand of humanity”:
Ibid.
“the San Francisco brand of humanity”:
Ibid.
263
“a grown-up, quicksilver talent”:
Ibid.
“a grown-up, quicksilver talent”:
Ibid.
263
“such instinct for the camera that even when she isn’t doing anything special”:
Kael,
The New Yorker
(March 13, 1979).
“such instinct for the camera that even when she isn’t doing anything special”:
Kael,
The New Yorker
(March 13, 1979).
263
“Sweetie, you need a publicist—nobody knows you”:
Author interview with Philip Kaufman, May 7, 2009.
“Sweetie, you need a publicist—nobody knows you”:
Author interview with Philip Kaufman, May 7, 2009.
263
“She recognized that
Body Snatchers
was in large part a comedy”:
Ibid.
“She recognized that
Body Snatchers
was in large part a comedy”:
Ibid.
263
“She was obsessed with James Toback”:
Author interview with Veronica Cartwright, April 26, 2009.
“She was obsessed with James Toback”:
Author interview with Veronica Cartwright, April 26, 2009.
263
“I had the weirdest feeling she was offended”:
Ibid.
“I had the weirdest feeling she was offended”:
Ibid.
264
“Danny Melnick didn’t want to fuck her”:
Author interview with Paul Schrader, August 31, 2009.
“Danny Melnick didn’t want to fuck her”:
Author interview with Paul Schrader, August 31, 2009.
264
“powerful raw ideas for movies”:
Kael,
The New Yorker
(February 19, 1979).
“powerful raw ideas for movies”:
Kael,
The New Yorker
(February 19, 1979).
264
“Schrader doesn’t enter the world of porno”:
Ibid.
“Schrader doesn’t enter the world of porno”:
Ibid.
264
“cautious and maddeningly opaque”:
Ibid.
“cautious and maddeningly opaque”:
Ibid.
264
“The possibility also comes to mind”:
Ibid.
“The possibility also comes to mind”:
Ibid.
265
“like visual rock”:
Kael,
The New Yorker
(March 5, 1979).
“like visual rock”:
Kael,
The New Yorker
(March 5, 1979).
265
“mesmerizing in its intensity”:
Ibid.
“mesmerizing in its intensity”:
Ibid.
266
“the risk factor out of financing movies”:
In These Times
(May 1980).
“the risk factor out of financing movies”:
In These Times
(May 1980).
267
“Now we can be friends again”:
Letter from Ray Stark to Pauline Kael, March 29, 1979.
“Now we can be friends again”:
Letter from Ray Stark to Pauline Kael, March 29, 1979.
267
“He wanted to hunt her down, and get her”:
Author interview with Paul Schrader, August 31, 2009.
“He wanted to hunt her down, and get her”:
Author interview with Paul Schrader, August 31, 2009.
267
“There was a fine writer named Pauline”:
Undated poem from various staff members of
The New Yorker.
CHAPTER TWENTY-ONE“There was a fine writer named Pauline”:
Undated poem from various staff members of
The New Yorker.
269
“So. . . . Tell me”:
Author interview with James Toback, May 21, 2009.
“So. . . . Tell me”:
Author interview with James Toback, May 21, 2009.
269
“Now I know what Warren meant”:
Letter from Kenneth Ziffren to Pauline Kael, 1979.
“Now I know what Warren meant”:
Letter from Kenneth Ziffren to Pauline Kael, 1979.
269
“probably take the whole weekend”:
Ibid.
“probably take the whole weekend”:
Ibid.
270
“She was keen to break loose from what she had been doing”:
Author interview with Kenneth Ziffren, June 19, 2009.
“She was keen to break loose from what she had been doing”:
Author interview with Kenneth Ziffren, June 19, 2009.
270
“He never wrote or made anything that he hadn’t experienced first”:
Author interview with Richard Albarino, November 23, 2009.
“He never wrote or made anything that he hadn’t experienced first”:
Author interview with Richard Albarino, November 23, 2009.
270
“I typed about four words”:
Ibid.
“I typed about four words”:
Ibid.
271
“a blueprint which may or may not work”:
Author interview with James Toback, May 21, 2009.
“a blueprint which may or may not work”:
Author interview with James Toback, May 21, 2009.
271
“I found it impossible to work with her”:
Ibid.
“I found it impossible to work with her”:
Ibid.
272
“I feel very badly”:
Ibid.
“I feel very badly”:
Ibid.
272
“He was confused”:
Ibid.
“He was confused”:
Ibid.
273 “
You have to let me go back to Las Vegas”:
Ibid.
You have to let me go back to Las Vegas”:
Ibid.
273
“did a masterful job of alienating”:
The New York Times,
May 15, 1979.
“did a masterful job of alienating”:
The New York Times,
May 15, 1979.
273
“a supercharged, simpleminded creature”:
Charles Fleming,
High Concept: Donald Simpson and the Hollywood Culture of Excess
(New York: Doubleday, 1998), 14.
“a supercharged, simpleminded creature”:
Charles Fleming,
High Concept: Donald Simpson and the Hollywood Culture of Excess
(New York: Doubleday, 1998), 14.
274
“It was a cake put in my lap”:
Author interview with James Toback, May 21, 2009.
“It was a cake put in my lap”:
Author interview with James Toback, May 21, 2009.
274
“Dear Pauline . . . as we discussed last Friday night”:
Memo from Don Simpson to Pauline Kael, July 25, 1979.
“Dear Pauline . . . as we discussed last Friday night”:
Memo from Don Simpson to Pauline Kael, July 25, 1979.
274
“Eisner and I have reviewed one more time”:
Memo from Don Simpson to Pauline Kael, undated.
“Eisner and I have reviewed one more time”:
Memo from Don Simpson to Pauline Kael, undated.
274
“Warren’s power to charm cannot be overestimated”:
Author interview with Buck Henry, April 29, 2009.
“Warren’s power to charm cannot be overestimated”:
Author interview with Buck Henry, April 29, 2009.
275
“You are trying to destroy my career from the inside”:
Author interview with Paul Schrader, August 31, 2009.
“You are trying to destroy my career from the inside”:
Author interview with Paul Schrader, August 31, 2009.
276
“I suppose, Professor Berwind”:
Author interview with Sandra Berwind, February 21, 2009.
“I suppose, Professor Berwind”:
Author interview with Sandra Berwind, February 21, 2009.
277
“Frankly, many producers aren’t doing the job that they should”:
The Hollywood Reporter
, May 16, 1980.
“Frankly, many producers aren’t doing the job that they should”:
The Hollywood Reporter
, May 16, 1980.
277
“You work for a long time to become a writer”:
Remarks by Pauline Kael at Visiting Writers Symposium at Vanderbilt University, March 26, 1980.
“You work for a long time to become a writer”:
Remarks by Pauline Kael at Visiting Writers Symposium at Vanderbilt University, March 26, 1980.
278
“He went into a long explanation”:
Author interview with William Whitworth, November 30, 2009.
“He went into a long explanation”:
Author interview with William Whitworth, November 30, 2009.
278
“I had the feeling that what had happened to her there shocked her”:
Author interview with Jeanine Basinger, November 19, 2010.
CHAPTER TWENTY-TWO“I had the feeling that what had happened to her there shocked her”:
Author interview with Jeanine Basinger, November 19, 2010.
279
“What has happened, I think”:
The New York Times Book Review
, April 6, 1980.
“What has happened, I think”:
The New York Times Book Review
, April 6, 1980.
279
“Whatever mellowness has crept into her writing”:
Ibid.
“Whatever mellowness has crept into her writing”:
Ibid.
279
“When Pauline scolds the industry”:
The Village Voice
, July 2–8, 1980.
“When Pauline scolds the industry”:
The Village Voice
, July 2–8, 1980.
279
“a more candid critic than Pauline”:
Ibid.
“a more candid critic than Pauline”:
Ibid.
280
“Why are you shaking?”:
Audio interview between Pauline Kael and Ray Sawhill, 2000.
“Why are you shaking?”:
Audio interview between Pauline Kael and Ray Sawhill, 2000.
280
“He has a way of making us feel that we’re in on a joke”:
Pauline Kael, “The Current Cinema,”
The New Yorker
(June 9, 1980).
“He has a way of making us feel that we’re in on a joke”:
Pauline Kael, “The Current Cinema,”
The New Yorker
(June 9, 1980).
280
“His performance begins to seem cramped, slightly robotized”:
Ibid.
“His performance begins to seem cramped, slightly robotized”:
Ibid.
281
“Very soon they’re likely to be summoning ”:
Kael,
The New Yorker
(June 23, 1980).
“Very soon they’re likely to be summoning ”:
Kael,
The New Yorker
(June 23, 1980).
281
“discovered how to take the risk out of moviemaking”:
Ibid.
“discovered how to take the risk out of moviemaking”:
Ibid.
282
“readiness for a visionary, climactic, summing-up movie”:
Ibid.
“readiness for a visionary, climactic, summing-up movie”:
Ibid.
282
“an incoherent mess”:
Television interview with Pauline Kael,
Live at Five
, fall 1982.
“an incoherent mess”:
Television interview with Pauline Kael,
Live at Five
, fall 1982.
282
“a quality of flushed transparency”:
Kael,
The New Yorker
(July 21, 1980).
“a quality of flushed transparency”:
Kael,
The New Yorker
(July 21, 1980).
282
“perfected a near-surreal poetic voyeurism—the stylized expression of a blissfully dirty mind”:
Kael,
The New Yorker
(August 4, 1980).
“perfected a near-surreal poetic voyeurism—the stylized expression of a blissfully dirty mind”:
Kael,
The New Yorker
(August 4, 1980).
283
“continued to believe that movie criticism”:
The New York Review of Books
, August 14, 1980.
“continued to believe that movie criticism”:
The New York Review of Books
, August 14, 1980.
283
“jarringly, piece by piece, line by line, and without interruption, worthless”:
Ibid.
“jarringly, piece by piece, line by line, and without interruption, worthless”:
Ibid.
283
“an entirely new style of
ad hominem
brutality and intimidation”:
Ibid.
“an entirely new style of
ad hominem
brutality and intimidation”:
Ibid.
284
“She is a lively writer with a lot of common sense”:
The New Leader
(March 30, 1973).
“She is a lively writer with a lot of common sense”:
The New Leader
(March 30, 1973).
284
“lost any notion of the legitimate borders of polemic”:
The New York Review of Books
, August 14, 1980.
“lost any notion of the legitimate borders of polemic”:
The New York Review of Books
, August 14, 1980.
284
“sexual conduct, deviance”:
Ibid.
“sexual conduct, deviance”:
Ibid.
284
“just a belch from the Nixon era”:
Ibid.
“just a belch from the Nixon era”:
Ibid.
284
“you can’t cut through the crap in her”:
Ibid.
“you can’t cut through the crap in her”:
Ibid.
284
“plastic turds”:
Ibid.
“plastic turds”:
Ibid.
284
“tumescent filmmaking”:
Ibid.
“tumescent filmmaking”:
Ibid.
284
“the mock rhetorical question”:
Ibid.
“the mock rhetorical question”:
Ibid.
284
“Were these 435 prints processed in a sewer?”:
Ibid.
“Were these 435 prints processed in a sewer?”:
Ibid.
284
“Where was the director?”:
Ibid.
“Where was the director?”:
Ibid.
284
“How can you have any feelings”:
Ibid.
“How can you have any feelings”:
Ibid.
284
“rarely saying anything”:
Ibid.
“rarely saying anything”:
Ibid.
284
“a new breakthrough in vulgarity”:
Ibid.
“a new breakthrough in vulgarity”:
Ibid.
284
“free to write what”:
Ibid.
“free to write what”:
Ibid.
284
“to accommodate her work”:
Ibid.
“to accommodate her work”:
Ibid.
285
“It is difficult, with these reviews”:
Ibid.
“It is difficult, with these reviews”:
Ibid.
285
“Princess Renata”:
The Village Voice
, August 6–12, 1980.
“Princess Renata”:
The Village Voice
, August 6–12, 1980.
285
“when not dusting off her diplomas”:
Ibid.
“when not dusting off her diplomas”:
Ibid.
285
“Renata Adler should see a psychiatrist”:
Letter from Michael Sragow to Pauline Kael, July 28, 1980.
“Renata Adler should see a psychiatrist”:
Letter from Michael Sragow to Pauline Kael, July 28, 1980.
285
“one of the dunces of the profession”:
New York
, August 11, 1980.
“one of the dunces of the profession”:
New York
, August 11, 1980.
285
“That’s just how Renata reacts to Pauline”:
Ibid.
“That’s just how Renata reacts to Pauline”:
Ibid.
285
“shouldn’t happen to anyone”:
Letter from Penelope Gilliatt to Pauline Kael, July 30, 1980.
“shouldn’t happen to anyone”:
Letter from Penelope Gilliatt to Pauline Kael, July 30, 1980.
286
“I’m sorry that Ms. Adler doesn’t respond to my writing”:
Time
(July 27, 1980).
“I’m sorry that Ms. Adler doesn’t respond to my writing”:
Time
(July 27, 1980).
286
“a kinetic-action director to the bone”:
Kael,
The New Yorker
(September 29, 1980).
“a kinetic-action director to the bone”:
Kael,
The New Yorker
(September 29, 1980).
286
“a furious aliveness in this picture”:
Ibid.
“a furious aliveness in this picture”:
Ibid.
286
“a comedy without a speck of sitcom aggression”:
Kael,
The New Yorker
(October 13, 1980).
“a comedy without a speck of sitcom aggression”:
Kael,
The New Yorker
(October 13, 1980).
286
“
The Elephant Man
has the power and some of the dream logic of a silent film”:
Kael,
The New Yorker
(October 27, 1980).
“
The Elephant Man
has the power and some of the dream logic of a silent film”:
Kael,
The New Yorker
(October 27, 1980).
287
“He only shows you what you see anyway”:
Pauline Kael, undated notes taken after a screening of
Annie Hall
, 1977.
“He only shows you what you see anyway”:
Pauline Kael, undated notes taken after a screening of
Annie Hall
, 1977.
287
“What man in his forties”:
Kael,
The New Yorker
(October 27, 1980).
“What man in his forties”:
Kael,
The New Yorker
(October 27, 1980).
287
“Throughout
Stardust Memories
. . . Sandy is superior to all those who talk about his work”:
Ibid.
“Throughout
Stardust Memories
. . . Sandy is superior to all those who talk about his work”:
Ibid.
287
“When you do comedy”:
Ibid.
“When you do comedy”:
Ibid.
287
“a new national hero”:
Ibid.
“a new national hero”:
Ibid.
287
“a horrible betrayal”:
Ibid.
“a horrible betrayal”:
Ibid.
287
“If Woody Allen finds success very upsetting”:
Ibid.
“If Woody Allen finds success very upsetting”:
Ibid.
288
“a biography of the genre of prizefight films”:
Kael,
The New Yorker
(December 8, 1980).
“a biography of the genre of prizefight films”:
Kael,
The New Yorker
(December 8, 1980).
288
“it’s also about movies and about violence”:
Ibid.
“it’s also about movies and about violence”:
Ibid.
288
“You can feel the director sweating for greatness”:
Ibid.
“You can feel the director sweating for greatness”:
Ibid.
288
“What De Niro does in this picture isn’t acting”:
Ibid.
“What De Niro does in this picture isn’t acting”:
Ibid.
289
“I would say that of all the nonfiction writers”:
Author interview with Daniel Menaker, April 1, 2009.
“I would say that of all the nonfiction writers”:
Author interview with Daniel Menaker, April 1, 2009.
289
“She wanted someone to help make sure”:
Ibid.
“She wanted someone to help make sure”:
Ibid.
289
“I don’t think she had a snobby bone in her body”:
Ibid.
“I don’t think she had a snobby bone in her body”:
Ibid.
289
“She loved to provoke Shawn”:
Ibid.
“She loved to provoke Shawn”:
Ibid.
289
“I think they really got off”:
Ibid.
“I think they really got off”:
Ibid.
290 “
Painting, painting,
painting
!”
Author interview with Warner Friedman, August 12, 2009.
Painting, painting,
painting
!”
Author interview with Warner Friedman, August 12, 2009.
290
“Here comes Ma Barker and her gang”:
Vanity Fair
, April 1997.
“Here comes Ma Barker and her gang”:
Vanity Fair
, April 1997.
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