The funniest epic vision of America ever to reach the screen. 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. ', 'A good movie can take you out of your dull funk and the hopelessness that so often goes with slipping into a theatre; a good movie can make you feel alive again, in contact, not just lost in another city. One of Kael's great gifts was describing the physical characteristics of the actors. 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. 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. Some people pinned the strident review on her complicated feelings about her own Jewish background. Pauline Kael Reviews A-Z. It's a bit much, but it works like magic. Drama. Word Count: 860. Achetez neuf ou d'occasion The most distinctive feature of Kael’s criticism was its voice. Comedy. © 2021 Condé Nast. Throughout the piece, she compares Altman’s efforts to Joyce’s in “Ulysses.”. (She had previously written one piece for the magazine.) 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. Gothic psychologizing melodrama, so preposterously full-blown and straight-faced that it's a juicy entertainment. I don't think the movie could have been so forceful or so funny with anyone else. Find on Wikipedia. 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. Retrouvez Movie Love: Complete Reviews 1988-1991 et des millions de livres en stock sur Amazon.fr. That Western background served her well during the Reagan years. Kael was known for her "witty, biting, highly opinionated and sharply focused" reviews, her opinions often contrary to those of her contemporaries. Pauline Kael can be difficult to read because she's so cynical and superior at times. But if you want to see what screen glamour used to be, and what, originally, "stars" were, this is perhaps the best example of all time. No other film has ever dramatized urban indifference so powerfully; at first, here, it's horrifyingly funny, and then just horrifying. 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. 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. 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. Vivien Leigh gives one of those rare performances that can truly be said to evoke pity and terror. Read Movie and TV reviews from Pauline Kael on Rotten Tomatoes, where critics reviews … By creating an account, you agree to the Privacy Policy Sign up here. 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. 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. by Pauline Kael. 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. ... Robert Towne, shaped the role to Nicholson's gift for extremes, and it was the best full-scale part he'd had up to that time. Ridley Scott was so shaken by a Kael comment he said he never read another review—from anyone. Raymond Chandler's sentimental foolishness is the taking-off place for Robert Altman's heady, whirling sideshow of a movie, set in the early-seventies L.A. of the stoned sensibility. Save this story for later. 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. Noté /5. Pauline Kael, whose film criticism anchored The New Yorker between 1968 and 1991, would have turned 100 on June 19. For a more extended discussion, see Pauline Kael's book Taking It All In. Copyright © Fandango. “On the Future of Movies.” This was one of the synthetic, long-view pieces that Kael contributed from time to time. This stylized movie of ideas is a lean, impressive piece of work. 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.”. On average, this critic grades 1.1 points lower than other critics. Features The Great Performances of 2020. To find a movie title, click on a letter. Pauline Kael was a respected film critic who was most active during the 1960s- 1980s. At her best, Pauline Kael was everything a film critic should be: passionate, knowledgable, in love with the movies and writing about them, willing to defend her reviews, and vicious. In her author's note she claims that the period begins lamely then suddenly there's one marvellous movie after another. “The colors in this movie are late-afternoon orange-beige-browns and pink—the pink of flesh drained of blood, corpse pink. This is a compilation (a sort of best of) of the movie reviews of Pauline Kael, the best cinema critic of the second half of the XXth Century. Pauline Kael was one of the most acclaimed, opinionated, and clever movie critics. 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. Academy Award for Best Actor (Hurt). The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. For a more extended discussion, see Pauline Kael's book Hooked. Get the freshest reviews, news, and more delivered right to your inbox! But the picture is tame. 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. Compare her to the best out there today, because comparing her to the mainstream is too sad. One of the most sophisticated slapstick comedies ever made. She was one of the most influential American film critics of her era. Lively, analytical and always entertaining, these reviews here were among her best . ... 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. Kael was, as she wrote of Farber, an education even when tearing up a film you like. She's a sassy, opinionated woman, and for the most part her reviews are fun to read. (“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. There are 2,846 in all, ranging from early silents to the early 1990s, when Kael retired. All Reviews. In my opinion, a pretty good time for … Working with Brando, Bertolucci achieves realism with the terror of actual experience still alive on the screen. 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." 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." Pauline Kael's book reviews are never boring, and the collection found in HOOKED are no exception. It's a traumatic poem of violence, with imagery as ambivalent as Goya's. (She died in 2001.) Above all it was her personality. 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. [Bergman] gives us a movie within a movie, but he seems hardly to have made the enclosing movie, and then he throws away the inner one. By Pauline Kae l. February 13, 1971 . Kael's reviews included a panning of West Side Story (1961) that drew harsh replies from the film's supporters; ecstatic reviews of Z and MASH that resulted in enormous boosts to those films' popularity; and enthusiastic appraisals of Brian De Palma's early films. Below, a cross section of some of Kael’s most influential pieces from the magazine over the years. “Coming: ‘Nashville.’ ” This is another of Kael’s raves, for one of her favorite directors, Robert Altman. 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. In 1968, shortly after the publication of her review of “Bonnie and Clyde,” she became the magazine’s film critic. Pauline Kael wrote for The New Yorker from 1967 until her retirement, in 1991. George Roy Hill, furious about her review of "Butch Cassidy and the Sundance Kid" began his letter to her, "Listen, you miserable bitch." 2% same as the average critic. https://alexsheremet.com/pauline-kael-one-films-worst-ridiculous-critics There is not a single line in Joseph E. Levine's Harlow, starring Carroll Baker, that sounds as if the speaker felt it or thought it, or could possibly have said it. 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. Pauline Kael wrote for The New Yorker from 1967 until her retirement, in 1991. The “Shoah” review garnered a furious response, not just from many readers but from other critics, some of whom usually admired Kael’s work. “Her friend George Malko, who accompanied her to it, recalled her as being ‘drenched’—unable even to go out for a drink with him to discuss it afterward,” Kellow writes. 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. 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?) Pauline Kael, whose film criticism anchored The New Yorker between 1968 and 1991, would have turned 100 on June 19. Achetez neuf ou d'occasion by Pauline Kael. Kael tends to be a controversial figure—not because her critical judgments were unconventional (though they frequently were) but because the way she arrived at those judgments was, at times, mysterious. In 1968, shortly after the publication of her review of “Bonnie and Clyde,” she became the magazine’s film critic. Reviews. Last Updated on May 5, 2015, by eNotes Editorial. Pauline Kael was probably the best film reviewer ever to put pen to paper. 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. 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. 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. And wasn’t the 1970s the period of cinema she loved best? Pauline Kael had an overwhelming presence in a conversation. Noté /5. When people respond favorably to her work, it’s often the chatty, urgent, and unrestrained tone of the reviews that draws them in. Here she takes stock of American movies in the aftermath of the counterculture. 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. The cast could hardly be better. Documentary. Farran Smith … Most of the players give impossibly bad performances-they chew up the camera. The picture might have been a pop classic if it had stayed near the level of impudence that it reaches at its best. Save this story for later. (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. An early talkie attempt at glittering theatrical sophistication-and, somehow, in its own terms, it works. Lawrence of Arabia is the most literate and intelligent and tasteful and the most beautiful of the modem expensive spectacle films. [Polanski's film] is textured and smooth and even, with lateral compositions subtly flowing into each other; the sequences are beautifully structured, and the craftsmanship is hypnotic. 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. For a more extended discussion, see Pauline Kael's book Reeling. Sign up for the Books & Fiction newsletter. When they can’t stand Kael’s reviews, it tends to have something to do with that voice, too. Menu. 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. At her best, Pauline Kael was everything a film critic should be: passionate, knowledgable, in love with the movies and writing about them, willing to defend her reviews, and vicious. “Bonnie and Clyde” restored her faith in Hollywood’s audacity. Were we supposed to have found it entertaining? Please enter your email address and we will email you a new password. Steven Spielberg sent a telegram to New Yorker film critic Pauline Kael to tell her that she was the only critic who understood "Jaws." There's a slightly crazy daringness about his approach to the mythic. When Brando improvises within Bertolucci's structure, his full art is realized; his performance is intuitive, rapt, princely. The infamous film critic Pauline Kael's top rated films as of the time of her demise in 2001. She was unshy about throwing her support behind rollicking mainstream entertainment (she was a fan of “Shampoo”), and her aversions sometimes cut against the grain of public taste (she hated almost everything by Fellini and Hitchcock, and once described “The Sound of Music” as “the single most repressive influence on artistic freedom in movies”). 70% lower than the average critic. "Image" is not remotely an example of hack work - it's an example of a conceptual failure. Movies. She was the most powerful, loved and hated film critic of her time, … Movies That Pauline Kael Really Liked. This was her last collection of reviews for the New Yorker before her retirement in 1991. 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. 2% same as the average critic. 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. 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. ad 15 of Pauline Kael’s Most Passionate Takes | IndieWire Each link contains between 20-30 reviews. 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. The book that I checked out from the library includes her reviews from 1972-75. 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. 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. Gothic psychologizing melodrama, so preposterously full-blown and straight-faced that it reaches at its best there one... Much, but it wasn ’ t stand Kael ’ s most influential film! Was, as she wrote of Farber, an education even when tearing up film. Graded: 28 % higher than the average critic with movie executives who oriented their ambitions around the box.... C. Fields pictures 100 on June 19 written one piece for the New Yorker before her retirement 1991. This stylized movie of ideas is a lean, impressive piece of work of filmmaking-journalism presented with brio... 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