The director’s last film is rumoured to centre on the life of New Yorker film writer Pauline Kael – if true, her 1970s face-off with Warren Beatty would make a thrilling plot line
ow intriguing to hear that Quentin Tarantino’s new film is going to be about a film critic – the news has sent all of us in the film-critic community into a nervy tizzy of pre-emptive gags and warily dismissive tweets about what this means for the discourse. And The Movie Critic is reportedly to be Tarantino’s final film, his signoff.
Well, the word is that this isn’t just any old film critic, but one based on the most famous film critic of all –, the New Yorker’s legendary star.
Tarantino loves critics, I think, as a connoisseur of the little-known, little-acknowledged galaxy of names who operate behind or beyond the more dazzling lights of the creatives. He did not start out as a critic, like François Truffaut or Paul Schrader, but as a superfan who knew all about critics in the same way he knew all about obscure supporting actors.
But here’s the thing. If Kael is the heroine, then I think I can take a guess at what The Movie Critic is about – in fact,: in 1979, Warren Beatty made Kael an offer – to come and effectively work for him, producing a film called Love and Money, scripted by Beatty’s friend James Toback. It was a challenge: could Kael actually do something in the movies as opposed to just carping from the sidelines? Kael accepted, and took a leave of absence from the New Yorker.
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