Jennifer dunning on a dating site
And they recently enjoyed some time in Mexico together, along with a few friends.
Jennifer Dunning New York City To the Editors: I wonder if you will allow me, as a long-time, steadfast, and very often admiring reader of the NYR, but with no other claim to your attention, to express my unhappiness with a piece in your August 14 issue, Renata Adler’s “review” of Pauline Kael’s When the Lights Go Down.The two were spotted out on Wednesday night enjoying dinner at Palms Thai restaurant in Hollywood.RELATED: The Reason Demi Lovato and Wilmer Valderrama Ended Their Relationship A source tells reports that the pair decided to give it another shot about a month ago.from the August 14, 1980 issue To the Editors: Putting aside the question of how considered, fair, valid, tasteful, or even important the film criticism of Pauline Kael may now be, as it is represented by When the Lights Go Down, Renata Adler’s review [NYR, August 14] seems almost as good an example of disingenuousness as any she claims for Kael.After reeling through pages of phrases ripped—with commendable assiduity—from the context and rhythms of the reviews under discussion, one arrives at summary statements that rival Kael’s reported excesses for spite, their tone of disappointed generosity notwithstanding.Does his or her praise or condemnation of an actor have to appear in the first or second paragraph? Adler’s practice when she was reviewing films for the Times? But we still have the reference to Laurence Olivier to check.
Doing so, we find that it is true that the phrase Ms.
Adler’s bestowing of a benediction on the dance critic Arlene Croce for her “ability to describe” is, by the way, enough of a puzzler to cast doubt on her critical judgment.
No one familiar enough with Croce’s work and the dances about which she writes to be entitled to such pronouncements, well-deserved though praise may be, could find her essays outstandingly descriptive nor, blessedly, has that ever seemed Croce’s intention. But the shrill, almost parodic tone of Adler’s review is far from the consideration of critical “prose and the relation between writers and readers” hinted at in the review.
Much of Adler’s prose is surprisingly convoluted, considering that she writes of style here. After surviving the “awful frenzy” of When the Lights Go Down, Adler writes, “it becomes hard—even in reviewing Ms.
Kael’s work—to write in any other way; or, in the typographic clamor, to detect and follow a genuine critical statement.” What a shameless disclaimer!
Adler quotes appears in the fourth paragraph of the review of The Boys from Brazil (p.