View Full Issue. The Age of Movies: Selected Writings of Pauline Kael, ed. Pauline, in that passionate, bullying voice, would explain that such-and-such a film (La Chinoise, for example) needed our support, and to the barricades we’d run. Hulton Archive/Getty Images. Movies: The Nanny. View Article Pages. The funniest epic vision of America ever to reach the screen. This film critic has awarded movies a score of 67% on average. Sign up here. Working with Brando, Bertolucci achieves realism with the terror of actual experience still alive on the screen. This classic screwball fantasy is like a more restless and visually high-spirited version of the W. C. Fields pictures. 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. Copyright © Fandango. Pauline Kael (National Book award winner) discusses contemporary films and her recent publications. Pauline Kael / September 10, 1966. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to artists from all fields. Please enter your email address and we will email you a new password. Film critic Pauline Kael talk to us from her house in Massachusetts. December 1965 Pauline Kael Login to Read This Article. 1968. There's a slightly crazy daringness about his approach to the mythic. No other film has ever dramatized urban indifference so powerfully; at first, here, it's horrifyingly funny, and then just horrifying. Hardcover, 750pp, $40.00.. As perhaps the most well-known name in film criticism, Pauline Kael has become associated perhaps with the “old guard” — the print media pundits, a signifier of bourgeois respectability. She was one of the most influential American film critics of her era. Vivien Leigh gives one of those rare performances that can truly be said to evoke pity and terror. 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. Found a copy of this 1974 review (in my opinion, one of Pauline Kael's best pieces of writing) on catholicforum.fisheaters.com Reprinting it here: THE EXORCIST Pauline Kael, The New Yorker, January 7, 1974 Shallowness that asks to be taken seriously—shallowness like William Peter Blatty's—is an embarrassment. The title of the new feature documentary by Rob Garver, “What She Said: The Art of Pauline Kael,” is a giveaway.In the film, the legendary critic for New Yorker is presented not merely as a key figure of film culture of the second half of the 20th century, but also as an artist in her own right: a woman for whom writing about movies constituted an act of self-discovery and emancipation. Finding It at the Movies, by Louis Menand: A review of For Keeps from The New York Review of Books. 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. (To view Guest Book, click here), Anna and the King of Siam to Arabian Nights, The Confessions of Felix Krull to The Crazy Quilt, Creature From the Black Lagoon to Cutter's Way, E.T. Demy gently mocks romantic movie effects, which he employs more romantically than ever. by Sanford Schwartz.New York: Library of America, 2011. 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. An early talkie attempt at glittering theatrical sophistication-and, somehow, in its own terms, it works. The most horrifying of all films about juvenile crime. 20.07 2018 September 9, 2019. You are here: Home / Pauline Kael. This shrewd, smoothly tawdry thriller, directed by Billy Wilder, is one of the high points of nineteen-forties films. Her final collection of New Yorker reviews has just been published. 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. Reels: 1 of 2 Length: 64:42 Total: 117:00 BB2116a Pacifica Radio Archives. and to receive email from Rotten Tomatoes and Fandango. For a more extended discussion, see Pauline Kael's book State of the Art. Hal Ashby's début film as a director is one of his best. She reviewed movies for the New Yorker for 25 years, and wrote 13 books about the cinema, including a National Book Award winner. "Image" is not remotely an example of hack work - it's an example of a conceptual failure. All rights reserved. 5001 Nights at the Movies. 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