Vegetarians

"For a month now I have been an out-and-out vegetarian. The moral effect of this way of life, with its voluntary castigation of the body, causing one's material needs to dwindle away, is enormous. You can judge for yourself how utterly I [am] convinced of it, when I tell you that I expect of it no less than the regeneration of humanity. All I can tell you is: let yourself be converted to a natural way of living, but one in which you eat suitable food (compost-grown, stone-ground, wholemeal bread) and soon you will see the fruits of your endeavours."

"Pfeiffer's characterization of Lurene is a marvel, but by now that is only to be expected. Watching her discover new facets of her talent is one of the real pleasures of going to the movies these days... Pfeiffer has become one of those transparent actors, a performer who allows us direct access to her character's thoughts and feelings. This character is simply another in her wide-ranging gallery of vivid, complex women. She's fully alive up there on the screen: a grounded angel, tarnished, funny and exquisitely soulful, even when the movie is dead."

"Pfeiffer gives us the whole woman. Her triumph goes beyond her facility with the Russian accent; other actresses could have done that. She's great at playing contradictions, at being tough yet yielding, cloaked yet open, direct yet oblique. What's she's playing, we suspect, is the great Russian game of hide-and-seek. But Pfeiffer gives it a personal dimension. Katya holds herself in check, but her wariness, one senses, is as much personal as it is cultural -- the result, perhaps, of her own secret wounds. It's one of the year's most full-blooded performances."

"This is one of the movies they will use as a document, years from now, when they begin to trace the steps by which Pfeiffer became a great star. I cannot claim that I spotted her unique screen presence in her first movie, which, I think, was Grease 2, but certainly by the time she made Ladyhawke and Tequila Sunrise and Dangerous Liaisons and Married to the Mob, something was going on. This is the movie of her flowering — not just as a beautiful woman, but as an actress with the ability to make you care about her, to make you feel what she feels. All of those qualities are here in this movie, and so is the "Makin' Whoopee" number, which I can only praise by adding it to a short list: whatever she's doing while she performs that song isn't merely singing; it's whatever Rita Hayworth did in Gilda and Marilyn Monroe did in Some Like It Hot, and I didn't want her to stop."

"For Pfeiffer, in a year that has seen her in varied assignments such as Married to the Mob and Tequila Sunrise, the movie is more evidence of her versatility. She is good when she is innocent and superb when she is guilty."

"Michelle Pfeiffer has the pivotal role of the movie and perhaps of her career as Angela de Marco, the unhappy missus of Frankie (The Cucumber). Shedding her WASP identity completely, Pfeiffer becomes the Italian princess, right down to the Long Island accent. Angela is an updated suburban moll, a gum-popper with press-on nails and lots of sweaters applique'd with feathers. She looks like a caricature, but there's anguish under all that mascara... This is her second movie marriage to the mob. As the wife in Scarface, she was the Latino mobster's WASP ornament, cold, trapped and tragic. As the Cucumber's widow, she's a deft comedian instead. It's her movie, and she graces it."

"Alda's best-written character in the movie probably is Faith Healy, the sexy actress played by Pfeiffer. Her performance uses some wonderfully subtle touches, as she moves back and forth between her historical character and her distinctly more cynical modern one."

"Pfeiffer in particular takes the sort of glamorous yet preposterous part that generally defeats even the best actress and somehow contrives to make it credible every inch of the way."

"I act for free, but I demand a huge salary as compensation for all the annoyance of being a public personality. In that sense, I earn every dime I make."

"A lot of times I looked into the camera and said, 'Too pretty.' We changed the lighting and hair. You know, she was hired originally in the town as a beautiful girl, but she's learned how to act. She's an actress of unlimited range. She works incredibly hard — the body language, the hair, the voice. She's not bothered by movie star stuff — whether she has a rug in her trailer or not. She doesn't care."

"She became a singer, and it was an extraordinary kind of example — graphic example — of what a good actor can really do, you know. She spent a lot of research time, she went around and heard singers and studied what they did. Everything from, of course, all the body language and all of that stuff — but vocally, we went in the studio and she sang a version of My Funny Valentine that, I mean... it killed me."

"There was a pronunciation and approach that seemed Dylan-influenced. Vowels were swallowed, word endings were given short or no shrift. When we worked, it almost became a joke with us that I was constantly reminding her to say the consonants as well as the vowels... And Michelle, must you continue to smoke two packs of cigarettes a day?... I can swear that every single note in that movie was hers. Seeing Michelle up there was like watching myself or my daughter. I was so nervous. I wanted her to be so good. I didn't want to feel as if I'd let her down."

"She was very, very particular about the visual aspects of what we were doing. After seeing the first rushes of film, she requested that her costumes be made less splendid. In fact, we reduced things. But it also had to do with the fact that it's Michelle Pfeiffer's face. She was so beautiful that they had to tone down the glories of the gowns to make her less stunning."

"I showed Stephen [Frears] a couple of reels of Married when he was considering Michelle for Liaisons. And he was clearly under her spell. But maybe he hesitated for an instant. He said, 'You know, she's going to be out there with John Malkovich and Glenn Close.' And I thought but didn't say, 'They'd better watch out then.'"

"She had to have been a couple of years out of high school when I met her in Vons (it's a clothing store now) and I was only in El Toro by chance. When I saw her at the supermarket, there was a difference. Something had happened in there. I don't know if it's because she tried some other things. She had this steely look of determination. She looked at me, and she says, 'I'm gonna be an actress.' And I remember telling her, 'Now, Michelle, a lot of people have agents and wanna be an actress and...' And, 'No, no.' She told me there was this movie with Tony Danza, The Hollywood Knights. She was just trying out for it, and she thought she might have a chance for it. I give her that look, 'Now, Michelle.' I don't know. You'll see a kid coming through that'll tell you, 'I'm going to be a doctor.' They're just hell bent, they're sure that's what they're going to do. Nothing stops them from doing it. And some kids do that. And then I get a call, 'Hey, you gonna be in your room today?' And they come back, and they've just gotten their law degree from Harvard or something. And it's usually one of those kids who has that look. And she had that look... I was a single parent, and I was ironing at two o'clock in the morning. That's when I do my ironing and catch my breath. This movie comes on, The Hollywood Knights, and I'm thinking, trying to figure out where I heard that name. And I'm watching, and then Tony Danza and his girlfriend come by. And you do a double take. I go, 'Michelle?' Well, she got the part. I couldn't believe it. I'm thinking I got a student who got a role in a movie. Good for you. I'm watching it. You know, you're kind of proud of her. And there she is. It was a little role but she was good in it."

"She was kind of shy, and halfway through the year, in fact, it was the end of the second semester where the other kids had been doing the debating and making the fiery speeches and stuff, Michelle hadn't volunteered very much. But then we did the Harry Truman trial, where they bring in witnesses. The players had to get some other kids to participate, so a little peer pressure. Michelle ended up being one of the victims of the bomb. She gets on the stand, and she had dressed herself up as a victim and had gauze and everything. She starts to talk, and she starts crying. You ever been in a play or something where you feel kind of uncomfortable that all of a sudden someone's doing something so emotional you don't know what to do? She does that to the class. And they're looking, and they can't figure out. What the hell is she doing? She hasn't been like this all year. It was just a stunning performance. And we thought, God, she really is a victim of the bomb. To the end of the year, we had her take on some more responsibility. But that was the first little bit of acting."

"The only friend I trust not to distort or misuse what I say is Michelle Pfeiffer."

"I didn't recognize her from one film to the next. I wasn't really looking at Michelle Pfeiffer; I was looking at the character in the movie. The thing that really clinched it was Married to the Mob. She had a kind of honesty in the character, and she had just the right amount of humor. She wasn't putting down the character; she wasn't making a value judgment on the character. She really was like the people I grew up with. The characters were Italians from Long Island, and here was an actress of a different type, different background, coming in and making me believe totally. That really made me sit up and take note. And then, when Dangerous Liaisons came out, I thought, 'She's the best we have.'"

"Basically, she's a character actress... I think that's a strength. She's someone who will endure because she'll find characters to play. And she happens also to be a leading-lady type, which is, I guess, glamorous. She has both... I mean, is someone doing what they should be doing? That's the question."

"I think that, more than any other "beautiful actress," Michelle has been handicapped by her appearance. She has such an overwhelming face that people have tended to cast her because of the way she looks... I have a feeling she's been in touch with her gift all along, and that she's exhibited enormous patience with those of us who tend to focus first on how gorgeous she is."

"Michelle represents the best of both worlds. She's very feminine, understated and sophisticated, yet also mysterious, confident and provocative."

"'She's the blonde in Scarface,' they say to me about Michelle Pfeiffer. Now her I know. She made this year's great movie entrance, descending, back to camera, in the glass elevator of a drug czar's Florida mansion, wearing a green satin evening dress that seemed about to fall off her. Rarely in a movie have I seen an actress so perfectly groomed, so coolly elegant. There hasn't been a platinum-blonde star for a long time, and I waited, fascinated, to meet her. She is on the verge of stardom. In the parlance of the industry, she is hot. She is appearing in one hot movie, has another coming out, and others await only her availability to begin shooting. 'Hello,' she said, when she arrived. 'Hello,' I replied, trying to zero in on the unfamiliar face... and then it registered: Michelle Pfeiffer is, alas, no longer blonde. She became blonde for the role. Nor is she a fashion plate. In fact, she has absolutely no interest in fashion or chic. Like Garbo, who cared nothing for such trappings either, she took on the accoutrements that went along with the part, so convincingly that I had assumed the end product was the starting point — the reason she had been cast in the first place."

"Eating a vegan diet — it’s just so much healthier — and you avoid a lot of toxins that could age your skin and your body. I really noticed a difference in my skin not too long after switching to fully vegan. … The older I’ve gotten, the more it’s occurred to me that I’m doing it in order to live longer, though the vanity component will always be there. … I just told myself one day that I’m going to do it and I’m going to give myself eight weeks. And that I’m not going to commit on this for a lifetime because it’s psychologically huge for people to wrap their minds around it. And I’m just going to see how I feel, I’m going to test my blood again and see if there’s anything. Giving it that long you sort of get over the fact of feeling how big and difficult it is at the beginning. And if you really give yourself long enough to start feeling differently and sort of see the benefits then it will be great."

"I always look at it as — it's like a treasure map, and each little detail in it, you sort of look at it for information and it points you in the right direction, to tell you where you need to go. You start out with a few choices, obviously — I need to learn the clarinet or I need to learn the cello, or I need to learn how to stay underwater without panicking — but it is like painting in a way, that at a certain point, the painting begins to tell you what to do. And with acting, it's the same — with acting in film, anyway — at a certain point then, what you've already put on screen begins to dictate to you where you need to go, and then it just starts to create itself in a way. And what I try to do is find a strand of myself, as different as I might feel the character is from me, and as removed as it is, I always try to find that one part of me. And then you kind of build on to that, because it's a way to keep you connected. And you never want to lose that connection. There's always some sort of parallel that's going on in my own life, and so you can use it to, you know, bring closure, perhaps, to certain things that you haven't. A healing, a reconnection. And I believe in that. I believe in that."

"That would have to be the F-word. Do you want me to say it? It's so descriptive, it can be used in so many ways — it can be used lovingly, it can be used in the most hateful — it's just very versatile... and you know, it's just, sometimes no other word will do."

"It's usually just awkward. It's not terribly romantic or steamy. Sometimes people's wives show up — "Hey, how you doing?"… I had a wedding scene with someone once, and the girlfriend showed up in a white dress..."

"I don't like improvisation. I really don't. I'm the only one that will admit it. Because I think people think you're not a real actor if you don't like to improv. I don't like it."

"So I do the test, and we do this scene, and it's the scene at the end where I throw dishes, and so I threw some dishes... and 'Cut!'... And I look around, and there's blood everywhere, because I broke a plate or something, and they're all checking me — 'Oh my God, she cut herself' — and couldn't find any cut, and then I look, and I realise. I see Al's hand is bleeding. And I cut Al Pacino, in my screen test. I think then he liked me. I think that was actually the turning point."

"I used to stay up very late at night, much later than I probably should have for such a youngster, and I used to watch very old black-and-white movies with, you know, Bette Davis and Joan Crawford, but I remember watching them thinking 'I could do that'... Even though I wasn't inclined at all to actually become an actress. I mean, that wasn't something that was... in the stars for me, no pun intended."

"The description of the character is that Frankie is an attractive woman if she'd just put a little effort into how she looks. So that's basically the way I played her. I consider myself an attractive woman, and I can be not-so-great-looking if I don't put effort into how I look. But more importantly, the core of the character was someone who had given up on love, and that could be any age, any size, any form of beauty. That could be anybody."

"I had a big mouth, and I used to mouth off to my mother all the time. But I'd make sure my father wasn't in earshot, because he'd let me have it. I was very strong-willed, very stubborn, and fairly dramatic, I guess. I remember my mother calling me a drama queen when I would be carrying on: 'Here's my little actress.' And I was a real tomboy. I wasn't a terribly feminine little girl. I never thought I was attractive to boys; I remember when the first boy liked me, I couldn't believe it. All the little girls with ringlets and crinoline dresses were the ones the boys liked. I was always beating them up — why should they like me? I was always the biggest girl in the class, and if somebody wanted someone beaten up, they'd come and get me. I was the school bully. No wonder I played Catwoman. It all comes full circle."

"Even from the beginning, when I was doing junk television, I still had this focus. I knew I wasn't going to be doing that forever, that I wasn't going to be like that..."

"You know, I look like a duck. I just do. And I'm not the only person who thinks that. It's the way my mouth sort of curls up or my nose tilts up. I should have played Howard the Duck."

"I don't like talking about the characters I do in film, ever. There's no deep, dark meaning. It's just an idea. It's just an idea."

"This hit, that ice cold / Michelle Pfeiffer, that white gold."

"For any actress to make the transition from Catwoman to Ellen Olenska would be impressive, and that Pfeiffer succeeds here as she did in her last film is the most conclusive proof yet of her widening talents."

"Pfeiffer gives the performance of a lifetime as the outcast countess. With her hair in tight curls that accentuate her pale beauty, she seems lit from within."

"One cannot attain divine knowledge till one gets rid of pride. Water does not stay on the top of a mound; but into low land it flows in torrents from all sides."

"Ramakrishna possessed a deep aversion to formal learning and education. Learned persons were likened by him to kites and vultures, which soar to great heights in the sky but whose eyes are forever focused on the decaying carcasses below. They were also described as similar to foolish people in an orchard who count the leaves and fruit and argue to estimate their value instead of plucking and relishing the juicy fruit. Reason and the intellectual life received little attention or recognition in his teachings."

"In 1849... Gadadhar was on the threshold of youth. He had become the pet of the women of the village. They loved to hear him talk, sing, or recite from the holy books. They enjoyed his knack of imitating voices. Their woman's instinct recognized the innate purity and guilelessness of this boy of clear skin, flowing hair, beaming eyes, smiling face, and inexhaustible fun. The pious elderly women looked upon him as Gopala, the Baby Krishna, and the younger ones saw in him the youthful Krishna of Vrindavan. He himself so idealised the love of the gopis for Krishna that he sometimes yearned to be born as a woman, if he must be born again, in order to be able to love Sri Krishna with all his heart and soul."

"Gadadhar was seven years old when his father died. This incident profoundly affected him. For the first time the boy realized that life on earth was impermanent. Unobserved by others, he began to slip into the mango orchard or into one of the cremation grounds, and he spent hours absorbed in his own thoughts. He also became more helpful to his mother in the discharge of her household duties. He gave more attention to reading and hearing the religious stories recorded in the Puranas. And he became interested in the wandering monks and pious pilgrims who would stop at Kamarpukur on their way to Puri. These holy men, the custodians of India's spiritual heritage and the living witnesses of the ideal of renunciation of the world and all-absorbing love of God, entertained the little boy with stories from the Hindu epics, stories of saints and prophets, and also stories of their own adventures. He, on his part, fetched their water and fuel and served them in various ways."

"At the age of six or seven Gadadhar (Ramakrishna's childhood name) had his first experience of spiritual ecstasy. One day in June or July, when he was walking along a narrow path between paddy-fields, eating the puffed rice that he carried in a basket, he looked up at the sky and saw a beautiful, dark thunder-cloud. As it spread, rapidly enveloping the whole sky, a flight of snow-white cranes passed in front of it. The beauty of the contrast overwhelmed the boy. He fell to the ground, unconscious, and the puffed rice went in all directions. Some villagers found him and carried him home in their arms. Gadadhar said later that in that state he had experienced an indescribable joy."

"It was on February 18, 1836, that the child, to be known afterwards as Ramakrishna, was born... he was given the name of Gadadhar, the "Bearer of the Mace", an epithet of Vishnu... Gadadhar grew up into a healthy and restless boy... intelligent and precocious and endowed with a prodigious memory. On his father's lap he learnt by heart the names of his ancestors and the hymns to the gods and goddesses, and at the village school he was taught to read and write. But his greatest delight was to listen to recitations of stories from Hindu mythology and the epics. These he would afterwards recount from memory, to the great joy of the villagers. Painting he enjoyed; the art of moulding images of the gods and goddesses he learnt from the potters. But arithmetic was his great aversion."

"For Ramakrishna, bhakti cannot be defined in a single word, rather, a cluster of words is necessary. … A path will do only if it is characterized by sincerity, earnestness, and single-minded devotion. Only then will we find that all paths lead to God."

"Ramakrishna was completely simple and guileless. He told people whatever came into his mind, like a child. If he had ever been troubled by homosexual desires, if that had ever been a problem he'd have told everybody about them. … He was completely without hang-ups, talking about sex-roles, because his thoughts transcended physical love-making. He saw even the mating of two dogs on the street as an expression of the eternal male-female principle in the universe. I think that is always a sign of great spiritual enlightenment."

"Throughout his life Ramakrishna continued to use words and similes which struck his more sensitive hearers as shockingly crude. But even those who were shocked had to admit that in Ramakrishna's mouth, the words lost much of their offensiveness; for he used them with such innocence."

"But what brought me into an intimate and living contact with this great mystic and bhakta and shakta and advaitin, was his Kathamrita. He had not used a single abstraction nor discussed any of the problems which pass as philosophy. His talks embodied expressions of a concrete consciousness which had dropped every trace of the dirt and dross and inertia which characterise what is known as normal human consciousness. The metaphors which sprang spontaneously from this purified consciousness were matchless in their aptness and illumined in a few words the knotted problems which many voluminous works had failed to solve. I was now having my first intimations of immortality towards which Kabir and Nanak and Sri Garibdas had inclined me earlier."

"The basis of the Swami's claim is a story that Swami Vivekananda's guru Paramahansa Ramakrishna (1836-86) once, in 1866, dressed up as a Muslim and then continued his spiritual exercises until he had a vision; and likewise as a Christian in 1874. If at all true, these little experiments shouldn't be given too much weight, considering Ramakrishna's general habit of dressing up a little for devotional purposes, e.g. as a woman, to experience Krishna the lover through the eyes of His beloved Radha (not uncommon among Krishna devotees in Vrindavan); or hanging in trees to impersonate Hanuman, Rama's monkey helper. But is the story true? Ram Swarup finds that it is absent in the earliest recordings of Ramakrishna's own talks. It first appears in a biography written 25 years after Ramakrishna's death by Swami Saradananda (Sri Ramakrishna, the Great Master), who had known the Master only in the last two years of his life. Even then, mention (on just one page in a 1050-page volume) is only made of a vision of a luminous figure. The next biographer, Swami Nikhilananda, ventures to guess that the figure was 'perhaps Mohammed'... In subsequent versions, this guess became a dead certainty, and that 'vision of Mohammed' became the basis of the doctrine that he spent some time as a Muslim, and likewise as a Christian, and that he 'proved the truth' of those religions by attaining the highest yogic state on those occasions. As the alleged vision of Jesus was slightly more glorious than that of Mohammed, Ram Swarup sarcastically suggests new horizons to the 'equal truth of all religions' school: 'This difference could provide much scope for future disputants. One school may hold that while all prophets are equal, some are more equal than others.'"

"Sri Ramakrishna, as a silent force, influences the spiritual thought currents of our time. He is a figure of recent history and his life and teachings have not yet been obscured by loving legends and doubtful myths. Through his God-intoxicated life Sri Ramakrishna proved that the revelation of God takes place at all times and that God-realization is not the monopoly of any particular age, country, or people. In him, deepest spirituality and broadest catholicity stood side by side. The God-man of nineteenth-century India did not found any cult, nor did he show a new path to salvation. His message was his God-consciousness. When God-consciousness falls short, traditions become dogmatic and oppressive and religious teachings lose their transforming power. … The greatest contribution of Sri Ramakrishna to the modern world is his message of the harmony of religions. To Sri Ramakrishna all religions are the revelation of God in His diverse aspects to satisfy the manifold demands of human minds. Like different photographs of a building taken from different angles, different religions give us the pictures of one truth from different standpoints. They are not contradictory but complementary."

"First purify your heart. When the mind becomes pure, the Lord Himself comes and makes it His seat. No image of God can be set up in a dirty place. The eleven bats referred to above are the eleven senses (the five organs of knowledge, the five organs of action and the mind). First dive deep within your own self and get the gems lying hidden there. After that you can have everything else. First you have to enshrine Uddhava in the heart; then you can have enough of lecturing and preaching. (1392)"