The Age of Movies: Selected Writings of Pauline Kael, ed. She was one of the most influential American film critics of her era. The Art of Pauline Kael': Berlin Review. To find a movie title, click on a letter. Pauline Kael. Most of the players give impossibly bad performances-they chew up the camera. Pauline Kael (National Book award winner) discusses contemporary films and her recent publications. Copyright © Fandango. There's a slightly crazy daringness about his approach to the mythic. And I wish it have never been made. In an edited selection from a previously unpublished transcript of the event, she explains why good films make her … 20.07 2018 September 9, 2019. View Article Pages. 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. It's a traumatic poem of violence, with imagery as ambivalent as Goya's. Godard Among the Gangsters. The infamous film critic Pauline Kael's top rated films as of the time of her demise in 2001. 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. 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. Odd Man Out UK (1947): Crime 115 min, No rating, Black & White, Available on videocassette and laserdisc Wounded at noon, the Irish rebel Johnny MacQueen (James Mason) stumbles through the streets of Belfast until midnight--the object of an intense, widespread manhunt. But the picture is tame. 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. But it's a triumphant piece of filmmaking-journalism presented with the brio of drama. 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. This elegy for the death of the old European aristocracy is one of the true masterpieces of the screen. Browse Issues; Vogue's Notebook ... Movies: The Nanny Pauline Kael December 1965 . It's a story of obsessive love, and von Sternberg's version is certainly obsessive. It's far from a dull movie, but it's certainly a very strange one; it's an enshrinement of the mixed-up kid. 5001 Nights at the Movies. Don't have an account? Hal Ashby's début film as a director is one of his best. The most horrifying of all films about juvenile crime. It's a bit much, but it works like magic. By creating an account, you agree to the Privacy Policy [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. ... From the WTTW Archive. To find a movie title, click on a letter. 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. For a more extended discussion, see Pauline Kael's book State of the Art. 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. Pauline Kael - Film Reviews. Eighty-Five from the Archive: Pauline Kael. 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. Were we supposed to have found it entertaining? The funniest epic vision of America ever to reach the screen. Vogue's Notebook. On 25 July 1982, at London’s National Film Theatre, Pauline Kael invited questions from the audience. Kael was known for her "witty, biting, highly opinionated and sharply focused" reviews, her opinions often contrary to those of her contemporaries. 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?) 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. Includes bibliographical references (p. [405]-407) and index In her nearly quarter-century (1968-1991) reviewing films at The New Yorker, Pauline Kael became the most widely read, the most influential, the most powerful, and, often enough, the most provocative critic in America. Please enter your email address and we will email you a new password. Beautiful, sometimes funny, and full of love, it brought a new vision of India to the screen. Get the freshest reviews, news, and more delivered right to your inbox! Working with Brando, Bertolucci achieves realism with the terror of actual experience still alive on the screen.
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