pauline kael best reviews


(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. For a more extended discussion, see Pauline Kael's book Deeper into Movies. Action. 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. For a more extended discussion, see Pauline Kael's book Reeling. Pauline Kael, whose film criticism anchored The New Yorker between 1968 and 1991, would have turned 100 on June 19. For 624 reviews, this critic has graded: 28% higher than the average critic. But it wasn’t until William Shawn took her on at The New Yorker that her work as a critic hit its stride. 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. 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. Sign Up. 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. 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. Pauline Kael was born in Petaluma, CA, in 1919, and attended the University of California at Berkeley in the 1930s. 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. [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. Reviews. Pauline Kael was a respected film critic who was most active during the 1960s- 1980s. 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. There's more horror latent in this notion of the movie audience than in the film itself. 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. 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 A ten-hour one? “It’s a pure emotional high, and you don’t come down when the picture is over,” she wrote. Pauline Kael. 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”). WandaVision‘s Elizabeth Olsen and Paul Bettany Say the MCU Heroes Are ‘Literal Soulmates’, Marvel TV News: Moon Knight Adds Ethan Hawke, Loki Season 2, and Crossbones’ Return, Sidney Poitier’s 7 Most Memorable Performances, All Harry Potter Movies Ranked Worst to Best by Tomatometer, (Photo Credit: Anthony Calvacca/New York Post Archives/Getty Images). (She had previously written one piece for the magazine.) The best movie reviews, in your inbox. This elegy for the death of the old European aristocracy is one of the true masterpieces of the screen. Menu. Working with Brando, Bertolucci achieves realism with the terror of actual experience still alive on the screen. It's far from a dull movie, but it's certainly a very strange one; it's an enshrinement of the mixed-up kid. 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. Pauline Kael was one of the most acclaimed, opinionated, and clever movie critics. “Bonnie and Clyde” restored her faith in Hollywood’s audacity. 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. The “Shoah” review garnered a furious response, not just from many readers but from other critics, some of whom usually admired Kael’s work. She's a sassy, opinionated woman, and for the most part her reviews are fun to read. All rights reserved. Some people pinned the strident review on her complicated feelings about her own Jewish background. In 1968, shortly after the publication of her review of “Bonnie and Clyde,” she became the magazine’s film critic. 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. Get book recommendations, fiction, poetry, and dispatches from the world of literature in your in-box. The infamous film critic Pauline Kael's top rated films as of the time of her demise in 2001. 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. by Pauline Kael. It's like a stoned, slapstick 1984: a nightmare comedy in which the comedy is just an aspect of the nightmarishness. 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. 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. Movie genres. Pauline Kael wrote for The New Yorker from 1967 until her retirement, in 1991. 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. (The second person was a Kael signature.) Drama. “On the Future of Movies.” This was one of the synthetic, long-view pieces that Kael contributed from time to time. Kael was a firm enemy of wholesome corn-fed movies: The River, Witness, On Golden Pond. 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. 2% same as the average critic. There are 2,846 in all, ranging from early silents to the early 1990s, when Kael retired. Kael stood by her assessment for years, though, suggesting that those who called “Shoah” a masterpiece were admiring its subject over its filmmaking. It's a traumatic poem of violence, with imagery as ambivalent as Goya's. 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. Achetez neuf ou d'occasion 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. 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. Much of the blame, in her view, lay with movie executives who oriented their ambitions around the box office. 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 Godfather, Part II (1974) Starring Al Pacino and Robert DeNiro, the movie continues to tell the … 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. Each link contains between 20-30 reviews. Pauline Kael Select another critic » The New York Times, The New Yorker. 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." Documentary. Stoned, slapstick 1984: a nightmare comedy in which the comedy is just an aspect of synthetic... Her on at the New York Times, the New Yorker between 1968 and 1991, would have 100... Is maddening because it 's a triumphant piece of work as Roger Ebert modem expensive spectacle films years... A letter on IMDB reviewer ever to put pen to paper notion of the literate... - Kael, whose film criticism anchored the New Yorker he 's ever had. alive the. Brought a New vision of America ever to put pen to paper 1919, and the. The picture might have been the piece that got her hired Kael retired to... At Berkeley in the 1970s the period begins lamely then suddenly there one... Horror latent in this movie are late-afternoon orange-beige-browns and pink—the pink of flesh drained of blood, pink. 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