Cast and crew. Pauline Kael movie reviews & film summaries | Roger Ebert. by Pauline Kael. 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. and the Terms and Policies, There are 2,846 in all, ranging from early silents to the early 1990s, when Kael retired. I used to have some collections of her film criticism back in the ‘80s, but I don’t know what became of them. 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. 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. It's a traumatic poem of violence, with imagery as ambivalent as Goya's. And wasn’t the 1970s the period of cinema she loved best? 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”). 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. 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 “Sacred Monsters.” Kael’s review of “Shoah,” which she found “logy and exhausting,” was one of the most publicly controversial pieces she ever wrote. 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. (“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 was the best film critic this country ever produced. 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. Hardcover Other ... Pauline Kael on the Best Film Ever Made - Raising Kane. Save this story for later. 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). [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. That Western background served her well during the Reagan years. Word Count: 860. Drama. 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. Pauline Kael, whose film criticism anchored The New Yorker between 1968 and 1991, would have turned 100 on June 19. It may also have been the piece that got her hired. Throughout the piece, she compares Altman’s efforts to Joyce’s in “Ulysses.”. 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). 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. All rights reserved. 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. Pauline Kael, Little, Brown, 1977. 2% same as the average critic. “Coming: ‘Nashville.’ ” This is another of Kael’s raves, for one of her favorite directors, Robert Altman. For a more extended discussion, see Pauline Kael's book Deeper into Movies. 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. This was the volume that made a god awful 26-hour greyhound bus … It's like a stoned, slapstick 1984: a nightmare comedy in which the comedy is just an aspect of the nightmarishness. The “Shoah” review garnered a furious response, not just from many readers but from other critics, some of whom usually admired Kael’s work. Photograph by Martha Holmes/Time Life Pictures/Getty Images. Bellocchio makes it all rhyme. Pauline Kael. Pauline Kael Select another critic » The New York Times, The New Yorker. There's a night-blooming, psychedelic shine to the whole baroque movie. The picture might have been a pop classic if it had stayed near the level of impudence that it reaches at its best. Herself (archive footage) Blog Posts. If I Had a Million US (1932): Drama/Comedy 83 min, No rating, Black & White Perhaps the best of the American all-star episode films of its era. Were we supposed to have found it entertaining? ', '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. 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. 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… 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. 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." Her reviews could be controversial and she left an impact on other critics such as Roger Ebert. It's a bit much, but it works like magic. Will be used in accordance with our Privacy Policy. Ridley Scott was so shaken by a Kael comment he said he never read another review—from anyone. Achetez neuf ou d'occasion Amazon.fr - Movie Love: Complete Reviews 1988-1991 - Kael, Pauline - Livres The Internet is responsible for the minting of hundreds of new critics. Paperback Movie Criticism: The Case of Pauline Kael. 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. 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." One of Kael's great gifts was describing the physical characteristics of the actors. (The second person was a Kael signature.) (Some think it's the best part he's ever had.) No other film has ever dramatized urban indifference so powerfully; at first, here, it's horrifyingly funny, and then just horrifying. Sign Up. Refine See titles to watch instantly, titles you haven't rated, etc Instant Watch Options In 1968, shortly after the publication of her review of “Bonnie and Clyde,” she became the magazine’s film critic. 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 material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. 5.0 out of 5 stars 1. This stylized movie of ideas is a lean, impressive piece of work. 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. Pauline Kael was born in Petaluma, CA, in 1919, and attended the University of California at Berkeley in the 1930s. 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. She was one of the most influential American film critics of her era. Movies. Pauline Kael, whose film criticism anchored The New Yorker between 1968 and 1991, would have turned 100 on June 19. Pauline Kael's book reviews are never boring, and the collection found in HOOKED are no exception. 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. 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. Retrouvez Movie Love: Complete Reviews 1988-1991 et des millions de livres en stock sur Amazon.fr. 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. 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. Hal Ashby's début film as a director is one of his best. One of the most sophisticated slapstick comedies ever made. Pauline Kael was one of the most acclaimed, opinionated, and clever movie critics. 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 charged erotic atmosphere makes the film something of a hallucination, but Lynch's humor keeps breaking through, too. There's more horror latent in this notion of the movie audience than in the film itself. Island Pictures. Celebs. Pauline Kael . picture ever done. 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. For a more extended discussion, see Pauline Kael's book Hooked. On the basis of a screenplay? Movie genres. and to receive email from Rotten Tomatoes and Fandango. 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. “Bonnie and Clyde” restored her faith in Hollywood’s audacity. (She died in 2001.) On average, this critic grades 1.1 points lower than other critics. Noté /5. "Image" is not remotely an example of hack work - it's an example of a conceptual failure. Features The Great Performances of 2020. Above all it was her personality. 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? ... 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. Here she takes stock of American movies in the aftermath of the counterculture. To find a movie title, click on a letter. Farran Smith … 70% lower than the average critic. Copyright © Fandango. Kael was a firm enemy of wholesome corn-fed movies: The River, Witness, On Golden Pond. And I wish it have never been made. An early talkie attempt at glittering theatrical sophistication-and, somehow, in its own terms, it works. Get the freshest reviews, news, and more delivered right to your inbox! But at her best she's as funny as Dorothy Parker, and her film reviews can really make you laugh. in 1991 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. It's far from a dull movie, but it's certainly a very strange one; it's an enshrinement of the mixed-up kid. “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. Compare her to the best out there today, because comparing her to the mainstream is too sad. Beautiful, sometimes funny, and full of love, it brought a new vision of India to the screen. The film is maddening because it's just good enough to be tantalizingly suggestive of what it might have been. Is it a great movie? Pauline Kael can be difficult to read because she's so cynical and superior at times. Find on Wikipedia. In 1968, shortly after the publication of her review of “Bonnie and Clyde,” she became the magazine’s film critic. (She had previously written one piece for the magazine.) Movie reviews. John Cassavetes built this movie on a small conceit -- a love affair between two people who are wildly unsuited to each other -- and it doesn't take root. But it wasn’t until William Shawn took her on at The New Yorker that her work as a critic hit its stride. Ebert Prime. (She died in 2001.) Forgot your password? 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 … https://alexsheremet.com/pauline-kael-one-films-worst-ridiculous-critics by Pauline Kael. Pauline Kael Select another critic » The New York Times, The New Yorker. Horror. Academy Award for Best Actor (Hurt). This shrewd, smoothly tawdry thriller, directed by Billy Wilder, is one of the high points of nineteen-forties films. 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. 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. Ad Choices. Below, a cross section of some of Kael’s most influential pieces from the magazine over the years. Comedy. Pauline Kael was probably the best film reviewer ever to put pen to paper. 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 my opinion, a pretty good time for … “It’s a pure emotional high, and you don’t come down when the picture is over,” she wrote. “On the Future of Movies.” This was one of the synthetic, long-view pieces that Kael contributed from time to time. Get book recommendations, fiction, poetry, and dispatches from the world of literature in your in-box. © 2021 Condé Nast. by Pauline Kael. 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. 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. Don't have an account? When Brando improvises within Bertolucci's structure, his full art is realized; his performance is intuitive, rapt, princely. 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. I don't think so. George Roy Hill, furious about her review of "Butch Cassidy and the Sundance Kid" began his letter to her, "Listen, you miserable bitch." 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." Some people pinned the strident review on her complicated feelings about her own Jewish background. Pauline Kael was a wonderful writer whose best writing was in the 1970s, when cinema was worth writing about. All rights reserved. I remember the evening I first met Pauline as vividly as a first date. 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. 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. In truth, her relationship to the mainstream was far more nuanced; she thought that quality rested somewhere between popular opinion and filmmakers’ innovative goals. What She Said: The Art of Pauline Kael (2019) Nell Minow . Kael’s legendary essay-review about Bonnie and Clyde was published in 1967 in the New Yorker. Kael was known for her "witty, biting, highly opinionated and sharply focused" reviews, her opinions often contrary to those of her contemporaries. Roger's Greatest Movies. For a more extended discussion, see Pauline Kael's book Taking It All In. (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. [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. Each link contains between 20-30 reviews. 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. Kael was, as she wrote of Farber, an education even when tearing up a film you like. There's a slightly crazy daringness about his approach to the mythic. A ten-hour one? Demy gently mocks romantic movie effects, which he employs more romantically than ever. Please enter your email address and we will email you a new password. Kael stood by her assessment for years, though, suggesting that those who called “Shoah” a masterpiece were admiring its subject over its filmmaking. The best movie reviews, in your inbox. 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. 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. “The colors in this movie are late-afternoon orange-beige-browns and pink—the pink of flesh drained of blood, corpse pink. She almost never saw a picture more than once. ... 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. To revisit this article, select My⁠ ⁠Account, then View saved stories. Vivien Leigh gives one of those rare performances that can truly be said to evoke pity and terror. (0-100 point scale) Pauline Kael's Scores. Achetez neuf ou d'occasion Pauline Kael wrote for The New Yorker from 1967 until her retirement, in 1991. Sign up for the Books & Fiction newsletter. When people respond favorably to her work, it’s often the chatty, urgent, and unrestrained tone of the reviews that draws them in. Achetez neuf ou d'occasion 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. Above all it was her personality. 25 quotes from Pauline Kael: 'Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize. 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’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?) 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. 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. Movie Love: Complete Reviews, 1988-1991. by Pauline Kael 4.8 out of 5 stars 6. Pauline Kael movie reviews & film summaries | Roger Ebert. 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 wrote for The New Yorker from 1967 until her retirement, in 1991. 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. 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 most horrifying of all films about juvenile crime. Pauline Kael . But the picture is tame. “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. It's a story of obsessive love, and von Sternberg's version is certainly obsessive. “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. Or almost any of her collections, really, but wasn’t she at her best when she had plenty of movies to love? For 624 reviews, this critic has graded: 28% higher than the average critic. For 624 reviews, this critic has graded: 28% higher than the average critic. Each brief story has a different comic flavor. Lively, analytical and always entertaining, these reviews here were among her best . For a more extended discussion, see Pauline Kael's book Reeling. I don't think the movie could have been so forceful or so funny with anyone else. Kael was known for her "witty, biting, highly opinionated and sharply focused" reviews, her opinions often contrary to those of her contemporaries. This classic screwball fantasy is like a more restless and visually high-spirited version of the W. C. Fields pictures. The funniest epic vision of America ever to reach the screen. 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. 2% same as the average critic. Menu. Pauline Kael had an overwhelming presence in a conversation. All Reviews. 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. When they can’t stand Kael’s reviews, it tends to have something to do with that voice, too. Read Movie and TV reviews from Pauline Kael on Rotten Tomatoes, where critics reviews … In her author's note she claims that the period begins lamely then suddenly there's one marvellous movie after another. 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. Retrouvez Taking It All in et des millions de livres en stock sur Amazon.fr. 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.”. 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. Pauline Kael was a respected film critic who was most active during the 1960s- 1980s. Pauline Kael had an overwhelming presence in a conversation. 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. By creating an account, you agree to the Privacy Policy Kael began drafting her review that same night. To revisit this article, visit My Profile, then View saved stories. 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. 25 quotes from Pauline Kael: 'Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize. Save this story for later. Most of the players give impossibly bad performances-they chew up the camera. ad 15 of Pauline Kael’s Most Passionate Takes | IndieWire Sign up here. In her eyes, the movie’s earnest, sometimes galling portrait of violence onscreen made audiences confront death in ways most films avoided. She was the most powerful, loved and hated film critic of her time, … Retrouvez Reeling et des millions de livres en stock sur Amazon.fr. 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. Action. This was her last collection of reviews for the New Yorker before her retirement in 1991. She had a taste for violence in films, but only when it was purpose and she disliked movies she felt were superficial or … This elegy for the death of the old European aristocracy is one of the true masterpieces of the screen. Much of the blame, in her view, lay with movie executives who oriented their ambitions around the box office. The infamous film critic Pauline Kael's top rated films as of the time of her demise in 2001. The bits and pieces are choppily assembled, with clumsily overlapped dialogue serving as makeshift bridges. 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. But it's a triumphant piece of filmmaking-journalism presented with the brio of drama. She's a sassy, opinionated woman, and for the most part her reviews are fun to read. Steven Spielberg sent a telegram to New Yorker film critic Pauline Kael to tell her that she was the only critic who understood "Jaws." 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. Pygmalion UK (1938): Comedy 95 min, No rating, Black & White, Available on videocassette and laserdisc First-rate romantic comedy, and certainly the best G.B.S. 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. 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. Working with Brando, Bertolucci achieves realism with the terror of actual experience still alive on the screen. ', '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. 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. 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. 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. Gothic psychologizing melodrama, so preposterously full-blown and straight-faced that it's a juicy entertainment. The cast could hardly be better. The Godfather, Part II (1974) Starring Al Pacino and Robert DeNiro, the movie continues to tell the … By Pauline Kae l. February 13, 1971 . 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. Movie Reviews Great Movies Collections TV/Streaming Features Chaz's Journal Interviews Cast and Crew Pauline Kael Find on IMDB. 70% lower than the average critic. Noté /5. Reviews. Movies That Pauline Kael Really Liked. The book that I checked out from the library includes her reviews from 1972-75. Documentary. 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. Pauline Kael Reviews A-Z. 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. 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. Lawrence of Arabia is the most literate and intelligent and tasteful and the most beautiful of the modem expensive spectacle films. 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. Movie are late-afternoon orange-beige-browns and pink—the pink of flesh drained of blood, corpse.. People pinned the strident review on her complicated feelings about her own Jewish background overwhelming presence in a.... A Kael comment he said he never read another review—from anyone somehow, in its own terms it! Old European aristocracy is one of Kael ’ s reviews, 1988-1991. by pauline Kael 's gifts. Over the years analytical and always entertaining, these reviews here were among her best controversial and left! Was published in 1967 in the aftermath of the W. C. Fields pictures is too sad the.. Imagery as ambivalent as Goya 's to paper 's version is certainly obsessive, by eNotes Editorial von 's. Was probably the best film critic who was most active during the 1960s- 1980s attempt at glittering sophistication-and. The physical characteristics of the players give impossibly bad performances-they chew up the camera mythic... - it 's like a stoned, slapstick 1984: a nightmare comedy in which comedy. A juicy entertainment be tantalizingly suggestive of what it might have been so forceful or so funny with else... Until pauline kael best reviews retirement, in her View, lay with movie executives who their. ( the second person was a respected film critic this country ever produced reviews... Still alive on the best out there today, because comparing her to the early,... The years choppily assembled, with clumsily overlapped dialogue serving as makeshift bridges said... Think it 's an example of hack work - it 's an of! Cinema was worth writing about synthetic, long-view pieces that Kael contributed from time time! European aristocracy is one of the W. C. Fields pictures this shrewd, smoothly tawdry thriller directed! Complicated feelings about her own Jewish background never read another review—from anyone was the! Ou d'occasion Amazon.fr - movie Love: Complete reviews, this critic grades 1.1 points lower other... So forceful or so funny with anyone else from the library includes her reviews from 1972-75 Taking it in! An education even when tearing up a film you like, click on letter! Was the best film reviewer ever to put pen to paper funny as Dorothy Parker, dispatches... Blood, corpse pink served her well during the 1960s- 1980s Amazon.fr - movie Love Complete! But Lynch 's humor keeps breaking through, too a story of obsessive Love it... 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