Achetez neuf ou d'occasion To find a movie title, click on a letter. 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. 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. There's a night-blooming, psychedelic shine to the whole baroque movie. She almost never saw a picture more than once. One of Kael's great gifts was describing the physical characteristics of the actors. But the picture is tame. Academy Award for Best Actor (Hurt). 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 … One of the most sophisticated slapstick comedies ever made. In this week’s issue, I write about Pauline Kael, who was a New Yorker film critic from 1968 to 1991, and whose reviewing helped establish several movies… 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. Sign up for the Books & Fiction newsletter. Movie Reviews Great Movies Collections TV/Streaming Features Chaz's Journal Interviews Cast and Crew Pauline Kael Find on IMDB. Compare her to the best out there today, because comparing her to the mainstream is too sad. 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. Comedy. 2% same as the average critic. The most distinctive feature of Kael’s criticism was its voice. It's a traumatic poem of violence, with imagery as ambivalent as Goya's. “Coming: ‘Nashville.’ ” This is another of Kael’s raves, for one of her favorite directors, Robert Altman. 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 New Yorker printed it on the condition that it run as the last review in that week’s column, and that she add a disclaimer at the start. Pauline Kael was a wonderful writer whose best writing was in the 1970s, when cinema was worth writing about. Pauline Kael wrote for The New Yorker from 1967 until her retirement, in 1991. 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. Throughout the piece, she compares Altman’s efforts to Joyce’s in “Ulysses.”. 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. Pauline Kael had an overwhelming presence in a conversation. by Pauline Kael. https://alexsheremet.com/pauline-kael-one-films-worst-ridiculous-critics The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. I don't think the movie could have been so forceful or so funny with anyone else. Bellocchio makes it all rhyme. 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. No other film has ever dramatized urban indifference so powerfully; at first, here, it's horrifyingly funny, and then just horrifying. Celebs. 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." 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. “The colors in this movie are late-afternoon orange-beige-browns and pink—the pink of flesh drained of blood, corpse pink. 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. Pauline Kael, Little, Brown, 1977. 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. 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. 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”). Steven Spielberg sent a telegram to New Yorker film critic Pauline Kael to tell her that she was the only critic who understood "Jaws." 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 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. 2% same as the average critic. 70% lower than the average critic. 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. 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? When they can’t stand Kael’s reviews, it tends to have something to do with that voice, too. Movie reviews. Copyright © Fandango. Movies. Movie genres. Kael was known for her "witty, biting, highly opinionated and sharply focused" reviews, her opinions often contrary to those of her contemporaries. Kael stood by her assessment for years, though, suggesting that those who called “Shoah” a masterpiece were admiring its subject over its filmmaking. 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. 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. By creating an account, you agree to the Privacy Policy “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. 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. Kael’s legendary essay-review about Bonnie and Clyde was published in 1967 in the New Yorker. Sign up here. “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. In this week’s issue, I write about Pauline Kael, who was a New Yorker film critic from 1968 to 1991, and whose reviewing helped establish several movies of the late sixties and seventies as classics. Save this story for later. 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 may also have been the piece that got her hired. 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. 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. 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. and the Terms and Policies, Achetez neuf ou d'occasion Here she takes stock of American movies in the aftermath of the counterculture. It's like a stoned, slapstick 1984: a nightmare comedy in which the comedy is just an aspect of the nightmarishness. 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. Don't have an account? For a more extended discussion, see Pauline Kael's book Taking It All In. Is it a great movie? To revisit this article, select My⁠ ⁠Account, then View saved stories. Farran Smith … This elegy for the death of the old European aristocracy is one of the true masterpieces of the screen. There's a slightly crazy daringness about his approach to the mythic. ', '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. Pauline Kael wrote for The New Yorker from 1967 until her retirement, in 1991. For a more extended discussion, see Pauline Kael's book Hooked. 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. Or almost any of her collections, really, but wasn’t she at her best when she had plenty of movies to love? (She died in 2001.) “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. 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