Molly Haskell

“.... [Keaton] took me by surprise in Annie Hall, too. There she blossomed into something more than just another kooky dame--she put the finishing touches on a type, the anti-goddess, the golden shiksa form the provinces who looks cool and together, who looks as if she must have a date on Saturday night, but has only to open her mouth or gulp or dart spastically sideways to reveal herself as the insecure bungler she is, as complete a social disaster in her own way as Allen's horny West Side intellectual is in his. A fit of misfits, a pair of compatible insecurities, they are the romantic couple of the seventies. Far from being a throwback to the fifties, they are ultramodern in that they give the lie not only to the cool couples of the past, but to the current myth of sexual liberation and come-easy couplings. But how would Keaton, reflected so large in her lover's eyes, fare outside the sheltered precincts of Woodyland in a straight role?….”

Molly Haskell
New York, October 31, 1977
(rev. of Looking for Mr. Goodbar)