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. 70% lower than the average critic. An early talkie attempt at glittering theatrical sophistication-and, somehow, in its own terms, it works. Kael was, as she wrote of Farber, an education even when tearing up a film you like. The bits and pieces are choppily assembled, with clumsily overlapped dialogue serving as makeshift bridges. But at her best she's as funny as Dorothy Parker, and her film reviews can really make you laugh. 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." 15 of Pauline Kael’s Greatest Takes June 05, 2019, 11:22am Pauline Kael, perhaps the most passionate and formative of all American film critics, was able to … 70% lower than the average critic. That Western background served her well during the Reagan years. Drama. Island Pictures. Menu. 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. Lively, analytical and always entertaining, these reviews here were among her best . There's a slightly crazy daringness about his approach to the mythic. George Roy Hill, furious about her review of "Butch Cassidy and the Sundance Kid" began his letter to her, "Listen, you miserable bitch." It's a traumatic poem of violence, with imagery as ambivalent as Goya's. by Pauline Kael. She tried and failed to work as a playwright in her 20s, and began writing film reviews as a freelance writer for film journals in the 1950s. Achetez neuf ou d'occasion Pauline Kael, whose film criticism anchored The New Yorker between 1968 and 1991, would have turned 100 on June 19. 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. Herself (archive footage) Blog Posts. 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. This shrewd, smoothly tawdry thriller, directed by Billy Wilder, is one of the high points of nineteen-forties films. Movie reviews. 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?) Movie genres. Pauline Kael was probably the best film reviewer ever to put pen to paper. Were we supposed to have found it entertaining? “The colors in this movie are late-afternoon orange-beige-browns and pink—the pink of flesh drained of blood, corpse pink. 25 quotes from Pauline Kael: 'Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize. 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. The Godfather, Part II (1974) Starring Al Pacino and Robert DeNiro, the movie continues to tell the … Pauline Kael. Pauline Kael had an overwhelming presence in a conversation. (“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. Movies That Pauline Kael Really Liked. The book that I checked out from the library includes her reviews from 1972-75. Each brief story has a different comic flavor. Features The Great Performances of 2020. By Pauline Kae l. February 13, 1971 . For a more extended discussion, see Pauline Kael's book Taking It All In. “It’s a pure emotional high, and you don’t come down when the picture is over,” she wrote. ... 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. 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. 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. and the Terms and Policies, Gothic psychologizing melodrama, so preposterously full-blown and straight-faced that it's a juicy entertainment. But it's a triumphant piece of filmmaking-journalism presented with the brio of drama. Visconti's methods are still partly neorealist, but the scale of the film is huge and operatic, and it loses the intimacy of the best neorealist films, and their breath of life. Read Movie and TV reviews from Pauline Kael on Rotten Tomatoes, where critics reviews … Sign Up. Pauline Kael Select another critic » The New York Times, The New Yorker. What She Said: The Art of Pauline Kael (2019) Nell Minow . Here she takes stock of American movies in the aftermath of the counterculture. 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. Noté /5. One of Kael's great gifts was describing the physical characteristics of the actors. The original material if first printed as a book?” Kael’s “Nashville” review also shows her trying to fit movies into the canon of modern art. She laments what she perceives to be growing malaise among “saturated” audience members, and she lambastes movies, in both nostalgic and counterculture modes, that seemed to feed their jaded expectations. And the best place to begin, naturally, is the New Yorker, where she was a staff critic, writing week in and week out for six months out of each year between 1968 and 1991. Refine See titles to watch instantly, titles you haven't rated, etc Instant Watch Options To find a movie title, click on a letter. 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. Pauline Kael had an overwhelming presence in a conversation. The cast could hardly be better. In my opinion, a pretty good time for … Movie Reviews Great Movies Collections TV/Streaming Features Chaz's Journal Interviews Cast and Crew Pauline Kael Find on IMDB. Beautiful, sometimes funny, and full of love, it brought a new vision of India to the screen. But it wasn’t until William Shawn took her on at The New Yorker that her work as a critic hit its stride. Reviews. She was the most powerful, loved and hated film critic of her time, … “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. Pauline Kael, whose film criticism anchored The New Yorker between 1968 and 1991, would have turned 100 on June 19. This was her last collection of reviews for the New Yorker before her retirement in 1991. Ridley Scott was so shaken by a Kael comment he said he never read another review—from anyone. This stylized movie of ideas is a lean, impressive piece of work. In the New York Times, Vincent Canby protested: “If one can review a film on the basis of an approximately three-hour rough cut, why not review it on the basis of a five-hour rough cut? Just before the movie appeared, Kael had been feeling gloomy about the sorts of movies Hollywood was turning out; she thought too few risks were being taken in the mainstream, and that over-burnished pictures were running tangent to American life. 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. Comedy. For a more extended discussion, see Pauline Kael's book Reeling. The charged erotic atmosphere makes the film something of a hallucination, but Lynch's humor keeps breaking through, too. It's far from a dull movie, but it's certainly a very strange one; it's an enshrinement of the mixed-up kid. When they can’t stand Kael’s reviews, it tends to have something to do with that voice, too. Kael was known for her "witty, biting, highly opinionated and sharply focused" reviews, her opinions often contrary to those of her contemporaries. 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. Roger's Greatest Movies. 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. In 1968, shortly after the publication of her review of “Bonnie and Clyde,” she became the magazine’s film critic. Sign up for the Books & Fiction newsletter. Movie Love: Complete Reviews, 1988-1991. by Pauline Kael 4.8 out of 5 stars 6. (Some think it's the best part he's ever had.) She had a taste for violence in films, but only when it was purpose and she disliked movies she felt were superficial or … Movies That Pauline Kael Really Liked by edshu33 | created - 30 Jan 2013 | updated - 30 Jan 2013 | Public Favorite films of one of the finest critics ever. Hardcover Other ... Pauline Kael on the Best Film Ever Made - Raising Kane. This was the volume that made a god awful 26-hour greyhound bus … This picture is another of [producer] Lew Grade's international blockbuster packages; the deals are worked out in terms of story elements that will sell and of performers with followings in as many markets as possible. She was one of the most influential American film critics of her era. Documentary. There's more horror latent in this notion of the movie audience than in the film itself. “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. Pauline Kael was a respected film critic who was most active during the 1960s- 1980s. by Pauline Kael. Bellocchio makes it all rhyme. Kael was a firm enemy of wholesome corn-fed movies: The River, Witness, On Golden Pond. and to receive email from Rotten Tomatoes and Fandango. (She died in 2001.) 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