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Pauline Kael was the rockstar film critic. James Broughton was the radical faerie poet laureate. They were lovers, and had a daughter, Gina James. Pauline and James were not married, contrary to what some naysayers would tell you. This is a repost.
Much of the information in this feature is taken from online reviews of Pauline Kael: A Life in the Dark, a 2012 biography written by Brian Kellow. Gina James, also known as Gina Broughton, was not interviewed for the book. Neither did she participate in the making of Big Joy, a movie about James Broughton. (A wig store, Gina Beauty Supply is located at 25 W Broughton St, Savannah, GA 31401.)
Pauline Kael was born June 19, 1919, Petaluma, CA, died September 3, 2001, Great Barrington, MA, and stood 4 feet 9 inches tall. James Broughton was born November 10, 1913, Modesto, CA, and died May 17, 1999, Port Townsend, WA. Neither one had a middle name. Both used their birth name throughout life. Both had lives, before meeting in the late forties.
When she met James Broughton, Miss Kael was living what would later be called the bohemian life. After moving to New York, and being dumped for composer Samuel Barber, Miss Kael moved back to California. “Returning to the Bay Area with her tail between her legs in 1945, Pauline became involved with the incredibly effeminate avant-garde filmmaker James Broughton. He managed to impregnate Pauline but threw her out as soon as she told him, whereupon she moved to Santa Barbara to give birth to her daughter, Gina, in 1948″
“Like her early career, Kael’s personal life was also fraught with failures. Kellow says “she had a habit of falling for gay men” earlier in her life because “they tended to share her passions and enthusiasms.” She had a daughter … with one of them, experimental filmmaker James Broughton.”
“For a time, during the 1940s, he lived with future film critic Pauline Kael. She encouraged his filmmaking endeavors but their relationship ended after she got pregnant. … Pauline Kael thought that Broughton made the biggest mistake of his life when he turned down a studio film after winning the prize at Cannes.” (Apparently Mr. Broughton was from a wealthy family, and could afford this attitude. Regarding his movie The Bed, Mr. Broughton said “It was the only film I created that ever made any money.”)
“Which brings us to the strange tale of Pauline’s only child, Gina James. … In 1948, at age 29, Kael got pregnant after she “talked her way into moving in” with James Broughton, a bisexual poet living in Sausalito. By Kellow’s account, Broughton was furious at the news of Kael’s pregnancy; he felt trapped and tricked by her. One of Broughton’s friends reported that he kicked Kael out of his house. She moved to Santa Barbara to have the baby. The birth certificate listed the father as “Lionel James, a writer”. It is one of the disappointments of the book that Kellow shines little light on Kael’s passion — or whatever it was — for Broughton, on how she processed that cruel rejection and on whether Broughton ever recognized Gina as his daughter.”
James Broughton moved on with his life. He made experimental films, got married, and fathered two more children. At some point he met Joel Singer, and began the romance that would last the rest of his life. It is tough to say whether he was genuinely bisexual, or whether he was playing the role society expected of him.
This review of Big Joy continues: “But interviews with Singer, waxing poetic about his years with the artist, are balanced by reminiscences from Broughton’s ex-wife and his abandoned son. Rather than only celebrating silliness, I found it admirable that the directors didn’t gloss over the pain he caused his wife and children. After all, when you think about it, he spent all of his life unable to decide if he was gay or straight; leaving a lot of broken hearts in his wake.
We learn from Kael that he flirted with everyone he met. “He rode off into the sunset with some guy,” his wife, Suzanna Hart tells us. “That was very sad for me, but not for him, which was…very irritating.” In her segments, Hart keeps her emotions in check but you can clearly read the sadness and anger in her face. The son doesn’t have much good to say about his absent father and the two daughters (the first by Kael and the second by Hart) both refused to be interviewed for the film. Singer has a lot to say about their blissful decades together, but he also comes off a bit heartless when he shows no guilt over breaking up what he calls Broughton’s “loveless” marriage.”
The baby daddy leaves, and the struggling writer becomes a single mom. “… Kael’s relationship with her actual daughter was something out of a Tennessee Williams play, and not in a good way. Kael home-schooled Gina and, as the girl grew up, kept her close, as a typist, projectionist, driver and right-hand man, and she banished any friend who actively encouraged the young woman to break out on her own. Though she was in many ways a loving and committed mother, helping to raise Gina’s son and always living nearby, one senses a Gothic selfishness in her mothering.”
Gina James declined to talk with Kellow for his book, but the author says Kael and her daughter had a sort of symbiotic relationship. “Pauline did not type, Pauline did not drive — Gina performed both those functions for her. And Gina was a very good critic of Pauline. She got to see Pauline’s copy before anyone else did and she often had very, very important and influential things to say. But Pauline really wasn’t wild about the idea of Gina breaking away and having her own life apart from her, and she didn’t do anything really to encourage her in that direction as far as I can see.”
Amazon one star comment: And her poor daughter – what a fate – TYPING all that. Poor Gina, — I can see her – Kellow described sitting silently in some coffee shop while her mother raved on and ON with her pet directors.
An affair with the experimental filmmaker James Broughton produced a child, Gina, whom Kael raised by herself, Mildred Pierce–like, heroically supporting them with a number of odd jobs, including running a laundry. Gina’s heart condition required expensive surgery, and Kael ended up enticing Edward Landberg, the owner of a local art-house theater, Berkeley Cinema Guild. They had begun as co-programmers. As Landberg tells it: “One day, when I was over at her place, I happened to graze her breast with my hand, and she kind of looked up and said, ‘What have you got to lose?’” Their marriage proved a fiasco, but Landberg agreed to pay for Gina’s operation, which Kellow suspects had been Kael’s motive all along…. Kellow shows more independence in assessing Kael’s treatment of her daughter Gina, whose ambitions to become a dancer or a painter she did little to encourage, preferring to keep her on “a silver cord . . . she had also grown accustomed to the steady, dependable role that Gina played—as secretary, driver, reader, sounding board—and she was loath to give her up.” Gina, for her part, was mistrustful of the dynamic she witnessed between Kael and her acolytes.“
“The closest and longest-lasting partnership of her life was with her daughter, Gina James … James considered speaking to Kellow, but finally declined, leaving a blank space at the center of this otherwise vividly detailed biography. Gina lived with her mother till she was over 30, typed up her reviews after Pauline stayed up all night writing them in longhand, and gave up both college and a shot at a dance career to serve as her mother’s caretaker, companion, and driver….
Kellow cites the text of the breathtakingly passive-aggressive eulogy that Gina delivered at her mother’s funeral in 2001: “My mother had tremendous empathy and compassion, though how to comfort, soothe or console was a mystery that eluded her … . Pauline’s greatest weakness, her failure as a person, became her great strength, her liberation as a writer and critic . … she turned her lack of self-awareness into a triumph.”
One more chapter remains. “Gina lived with Kael well into her thirties … That she married and had a child, Will, seemed to catch Kael by surprise, though she ended up adoring her only grandchild, someone with whom she could watch action movies with.
Kael died in 2001, when Will was about 19. Unfortunately, and Kellow made no mention of this in his book whatsoever, there’s a horrible postscript, one that may well have been the reason for why Gina declined to be interviewed for the book. On October 6, 2007, Will, then 25, went hiking in the East Mountain State Forest in the Berkshires. He was an avid hiker, not to mention a devoted martial artist. He had a girlfriend. He never came back. Gina reported him missing, but his body wasn’t found for more than week, on October 15. … “authorities found camping equipment nearby and while cause of death has not been determined, foul play is not suspected.”
Pictures today are from The Library of Congress. UPDATE These two comments were made to the original post. Anonymous said, on June 16, 2017 at 9:18 pm Your piece on Kael and Broughton is rife with misinformation and judgements galore and unbelievably badly written. Get a life and stop spreading falsehoods. And next time you put your fingers to a keyboard do your due diligence! James’ son was NOT ABANDONED! He lived happily with the two of us after the divorce. You fail to recognize that James’ ex-wife was a classic fag hag who had been married to another gay man before her relationship with James. She had been in psychotherapy for years before they got together and for many years after they split up. James certainly did not spend the rest of his life uncertain about his sexuality. Read his autobiography COMING UNBUTTONED and you’ll discover how misinformed your take on him is. You have done a great disservice to your readers by publishing such homophobic nonsense. Joel Singer ~ Sterling Wilson said, on August 19, 2017 at 1:40 pm Curious about this autobiography, I found the following from a Publishers Weekly review “Broughton forsakes introspection for literary gossip and name-dropping: Kenneth Rexroth, Pauline Kael, Dylan Thomas, Anais Nin. The birth of a daughter is dispensed with in two sentences. Broughton’s insistence on making himself the center of attention increasingly intrudes.”