The concentration is on films from the 1970s (what she, and other critics I admire, have said was the true golden age of cinema), but one is also treated to films from the 1960s and 1980s. Compare her to the best out there today, because comparing her to the mainstream is too sad. In some review I can't pinpoint, a subordinate clause informs the Manhattan chauvinists of something they know at heart: "Everything's better in the West." The camera glides in and out and around the action; it moves as simply and with as much apparent ease as if it were attached to the director's forehead. In 1968, shortly after the publication of her review of “Bonnie and Clyde,” she became the magazine’s film critic. The Internet is responsible for the minting of hundreds of new critics. Throughout the piece, she compares Altman’s efforts to Joyce’s in “Ulysses.”. The infamous film critic Pauline Kael's top rated films as of the time of her demise in 2001. Her lengthy interrogation of the picture helped to change the tide of critical feeling about “Bonnie and Clyde,” which initially got a mixed reception (ultimately leading to a re-release, in early 1968). Will be used in accordance with our Privacy Policy. Her reviews could be controversial and she left an impact on other critics such as Roger Ebert. Demy gently mocks romantic movie effects, which he employs more romantically than ever. This elegy for the death of the old European aristocracy is one of the true masterpieces of the screen. Pauline Kael movie reviews & film summaries | Roger Ebert. 5.0 out of 5 stars 1. Above all it was her personality. For a more extended discussion, see Pauline Kael's book Reeling. Island Pictures. There are 2,846 in all, ranging from early silents to the early 1990s, when Kael retired. To revisit this article, select My⁠ ⁠Account, then View saved stories. The Loneliness of the Long Distance Runner, The Cabinet of Dr. Caligari (Das Cabinet des Dr. Caligari), Rocco and His Brothers (Rocco e i suoi fratelli), Best Netflix Shows and Series To Binge (January 2021), The 100 Best Movies on Netflix Right Now (January 2021). (en) Pauline Kael reviews, including the full text of Raising Kane (en) Extensive collection of capsule reviews by Kael; Portail du cinéma américain La dernière modification de cette page a été faite le 24 août 2020 à 22:36. 25 quotes from Pauline Kael: 'Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize. The picture is an enormous many-layered black joke on the hero and the audience, and part of the joke is the use of Charlton Heston as the hero. The Godfather, Part II (1974) Starring Al Pacino and Robert DeNiro, the movie continues to tell the … Our identification with [Lorre] as a psychopath is so complete it's hard to believe that while appearing before Fritz Lang's cameras in the daytime, he was, at night, acting as a comedian in a farce. “Bonnie and Clyde” restored her faith in Hollywood’s audacity. An early talkie attempt at glittering theatrical sophistication-and, somehow, in its own terms, it works. The collection includes the long, prophetic, analytic essay 'On the Future of Movies' that proved contentious in its criticism of the Hollywood system, which Kael thought debased its audience and ignored its artists. Pauline Kael had an overwhelming presence in a conversation. George Roy Hill, furious about her review of "Butch Cassidy and the Sundance Kid" began his letter to her, "Listen, you miserable bitch." Kael had been a successful freelancer and embattled staff critic before 1968—she had been hired, then promptly fired, by McCall’s, and she left The New Republic in a huff after a short stint there. From her rave of "Bonnie and Clyde" to her dismissal of "Chloe in the Afternoon," here are choice quotes from some of Kael's best reviews. Please enter your email address and we will email you a new password. The most horrifying of all films about juvenile crime. A ten-hour one? Film writings from 1972-1975, by Pauline Kael, the only film critic ever to have won the US National Book Award in Arts and Letters. in 1991 ... Oscars Best Picture Winners Best Picture Winners Golden Globes Emmys STARmeter Awards San Diego Comic-Con New York Comic-Con Sundance Film Festival Toronto Int'l Film Festival Awards Central Festival Central All Events. Movie Reviews Great Movies Collections TV/Streaming Features Chaz's Journal Interviews Cast and Crew Pauline Kael Find on IMDB. This shrewd, smoothly tawdry thriller, directed by Billy Wilder, is one of the high points of nineteen-forties films. It’s in pieces like this that the widespread caricature of Kael as a relentless champion of pop culture and audience pleasure begins to seem thin. This stylized movie of ideas is a lean, impressive piece of work. Steven Spielberg sent a telegram to New Yorker film critic Pauline Kael to tell her that she was the only critic who understood "Jaws." This bliss-out style of praise was often lampooned, and became especially controversial in this review, which Kael wrote after seeing an early cut of the movie. In it, she suggests that “Last Tango” may “turn out to be the most liberating movie ever made,” both for its frank, immediate portrait of the most unseemly drives and for the intricate emotional landscape it conveyed. Celebs. Pauline Kael can be difficult to read because she's so cynical and superior at times. No other film has ever dramatized urban indifference so powerfully; at first, here, it's horrifyingly funny, and then just horrifying. What She Said: The Art of Pauline Kael (2019) Nell Minow . Ridley Scott was so shaken by a Kael comment he said he never read another review—from anyone. There will no doubt be many discussions of Kael's work and influence and with the publication of Brian Kellow's new biography Pauline Kael: A Life in the Dark, and the Library of America's forthcoming collection of her work. She almost never saw a picture more than once. When Brando improvises within Bertolucci's structure, his full art is realized; his performance is intuitive, rapt, princely. Retrouvez Reeling et des millions de livres en stock sur Amazon.fr. Pauline Kael Select another critic » The New York Times, The New Yorker. Movies That Pauline Kael Really Liked. The most thought-provoking critique of the Bernardo Bertolucci’s The Conformist was by Pauline Kael in the March 27, 1971 issue of The New Yorker. The most distinctive feature of Kael’s criticism was its voice. 25 quotes from Pauline Kael: 'Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize. Clearly, Lerner didn't have the resources to do Farrell's characters and milieu justice, but it's an honorable low-budget effort ... and there are a few passages of daring editing that indicate what the film was aiming for. Pauline Kael, whose film criticism anchored The New Yorker between 1968 and 1991, would have turned 100 on June 19. (She died in 2001.) Is it a great movie? by Pauline Kael. Pauline Kael' Reviews by antoniomendes1222 | created - 14 Jul 2014 | updated - 23 Nov 2014 | Public Refine See titles to watch instantly, titles you haven't rated, etc It's a notion that takes some growing used to, but Pauline Kael makes her case persuasively: "Almost every interesting American movie in the past few years has been directed by a Catholic." There's more horror latent in this notion of the movie audience than in the film itself. I don't think so. Pauline Kael' Reviews by antoniomendes1222 | created - 14 Jul 2014 | updated - 23 Nov 2014 | Public Refine See titles to watch instantly, titles you haven't rated, etc. Or almost any of her collections, really, but wasn’t she at her best when she had plenty of movies to love? Here she takes stock of American movies in the aftermath of the counterculture. It's a traumatic poem of violence, with imagery as ambivalent as Goya's. This was Renoir's second color film (after "The River"), and his directorial rhythm seems to falter in his work in color, but, given the film's glow and warmth, this defect is trifling. With so many styles incorporated, it's no wonder that the film has no style, nor does it have anything that might pass for aesthetic structure. https://alexsheremet.com/pauline-kael-one-films-worst-ridiculous-critics But the picture is tame. Read Movie and TV reviews from Pauline Kael on Rotten Tomatoes, where critics reviews … “It’s a pure emotional high, and you don’t come down when the picture is over,” she wrote. In 1968, shortly after the publication of her review of “Bonnie and Clyde,” she became the magazine’s film critic. And, although some filmmakers accused Kael of turning a wishful eye toward the screen, she was for many years the only critic whose insights and passions many readers trusted. Were we supposed to have found it entertaining? The bits and pieces are choppily assembled, with clumsily overlapped dialogue serving as makeshift bridges. It may also have been the piece that got her hired. (The second person was a Kael signature.) Kael was known for her "witty, biting, highly opinionated and sharply focused" reviews, her opinions often contrary to those of her contemporaries. Farran Smith … To revisit this article, visit My Profile, then View saved stories. She digs deep into a movie and dissects the heck out of it to such an extent and with such a critical eye that one often has to step back and wonder if she ever really fully enjoyed any film. I remember the evening I first met Pauline as vividly as a first date. Horror. Noté /5. There's a night-blooming, psychedelic shine to the whole baroque movie. Kael began drafting her review that same night. Retrouvez Taking It All in et des millions de livres en stock sur Amazon.fr. The funniest epic vision of America ever to reach the screen. It's like a stoned, slapstick 1984: a nightmare comedy in which the comedy is just an aspect of the nightmarishness. Hardcover Other ... Pauline Kael on the Best Film Ever Made - Raising Kane. Here, then, is a handy collection of Kael’s best reviews – not exhaustive, mind you, but simply the best (and cheapest) way to experience Pauline Kael in all her glory. Pauline Kael's book reviews are never boring, and the collection found in HOOKED are no exception. On the basis of a screenplay? picture ever done. This was the volume that made a god awful 26-hour greyhound bus … This was her last collection of reviews for the New Yorker before her retirement in 1991. 70% lower than the average critic. All rights reserved. I especially like this collection because she reviews some of my all time favorite Seventies films, such as ZARDOZ, THE LAST DETAIL, THE STEPFORD WIVES, LENNY, and BLAZING SADDLES. by Pauline Kael. For a more extended discussion, see Pauline Kael's book Deeper into Movies. This is a magical, whirling little film, a triumph of style, even though it runs down to nothing in the last, too quick, too ambiguous shot. At 800-plus pages it does come with a few reviews, but any of those published by Ms Kael (later compiled in 10 books covering all her reviews from the mid fifties to the early nineties) could be in this tome - Pauline Kael is that very good. Caligari, the most complete essay in the décor of delirium, is one of the most famous films of all time, and it was considered a radical advance in film technique, yet it is rarely imitated -- and you'll know why. Pauline Kael (/keɪl/; June 19, 1919 – September 3, 2001) was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. Much of the blame, in her view, lay with movie executives who oriented their ambitions around the box office. This is Pauline Kael's ninth collection (and eleventh book) and it covers her film reviews from The New Yorker magazine from July 1985 to June 1988. She had a taste for violence in films, but only when it was purpose and she disliked movies she felt were superficial or … Noté /5. “Tango.” According to Brian Kellow’s comprehensive new biography, Kael had an almost somatic reaction to Bernardo Bertolucci’s “Last Tango in Paris” when she saw it on the last day of the New York Film Festival, in 1972. Save this story for later. Word Count: 860. It's a story of obsessive love, and von Sternberg's version is certainly obsessive. It has no more moral intelligence than the Clint Eastwood action pictures, yet it's an astonishing piece of work, an uneasy mixture of violent pulp and grandiosity, with an enraptured view of common life -- poetry of the commonplace. Academy Award for Best Actor (Hurt). Features The Great Performances of 2020. If ever there was a great example of how the best popular movies come out of a merger of commerce and art, "The Godfather" is it. The New Yorker may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. It's plain and uncondescending in its re-creation of what it means to be a high-school athlete, of what a country dance hall is like, of the necking in cars and movie houses, and of the desolation that follows high-school graduation. She was one of the most influential American film critics of her era. Pauline Kael was a respected film critic who was most active during the 1960s- 1980s. One of the most sophisticated slapstick comedies ever made. ad 15 of Pauline Kael’s Most Passionate Takes | IndieWire There will no doubt be many discussions of Kael's work and influence and with the publication of Brian Kellow's new biography Pauline Kael: A Life in the Dark, and the Library of America's forthcoming collection of her work. Refine See titles to watch instantly, titles you haven't rated, etc Instant Watch Options Pauline Kael’s review of Interiors is full of the same holes, but goes a step further in the way it reverts to her classic brand of ad hominem, faulting Woody Allen for his supposed Jewish (or non-Jewish?) If ever there was a great example of how the best popular movies come out of a merger of commerce and art, The Godfather is it. The cast could hardly be better. Pauline Kael, who died in 2001 but would have turned 100 today, looks down on my writing desk askance – or rather, 10 volumes of her reviews do. Pauline Kael Select another critic » The New York Times, The New Yorker. T he best way to celebrate the one hundredth anniversary of the birth of Pauline Kael, one of the most influential film critics in the short history of cinema, is, of course, to read her work. Reviews. Movies. Vivien Leigh gives one of those rare performances that can truly be said to evoke pity and terror. They are so delicately modulated … that romance and rot are one.” “Tango” is a classic Kael rave, celebrating the shock and glorious discomfort of “a movie you can’t get out of your system.”. Movie Love: Complete Reviews, 1988-1991. by Pauline Kael 4.8 out of 5 stars 6. Pauline Kael is the guest on this episode of the Writer's Workshop, filmed at the University of South Carolina on Feb. 11, 1982, and broadcast on PBS. “Bonnie and Clyde.” Penelope Gilliatt had already reviewed Arthur Penn’s 1967 tale of two outlaws for The New Yorker when Kael, a freelancer, contributed this seven-thousand-word defense of the film. The movie starts from a trash novel that is generally considered gripping and compulsively readable, though (maybe because movies more than satisfy my appetite for trash) I found it unreadable. (“I ask the forbearance of readers for a dissenting view of a film that is widely regarded as a masterpiece.”) Her objection to the movie was chiefly aesthetic, but she also complained at one point that the film’s director, Claude Lanzmann, “could probably find anti-Semitism anywhere”—a baffling knock against a documentary about the Holocaust. Pauline Kael, Little, Brown, 1977. Pauline Kael, whose film criticism anchored The New Yorker between 1968 and 1991, would have turned 100 on June 19. But at her best she's as funny as Dorothy Parker, and her film reviews can really make you laugh. Use of this site constitutes acceptance of our User Agreement (updated as of 1/1/21) and Privacy Policy and Cookie Statement (updated as of 1/1/21) and Your California Privacy Rights. Sign Up. In truth, her relationship to the mainstream was far more nuanced; she thought that quality rested somewhere between popular opinion and filmmakers’ innovative goals. When people respond favorably to her work, it’s often the chatty, urgent, and unrestrained tone of the reviews that draws them in. Photograph by Martha Holmes/Time Life Pictures/Getty Images. Roger's Greatest Movies. Sign up for the Books & Fiction newsletter. And I wish it have never been made. Kael was known for her "witty, biting, highly opinionated and sharply focused" reviews, her opinions often contrary to those of her contemporaries. She notices how they walk, how they toss their hair, even how they slouch, which she goes to great lengths to show in her review of TOP GUN. and the Terms and Policies, Pauline Kael (/ k eɪ l /; June 19, 1919 – September 3, 2001) was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. For 624 reviews, this critic has graded: 28% higher than the average critic. Below, a cross section of some of Kael’s most influential pieces from the magazine over the years. 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