TV Shows; Movies; Games; Trending Music; Blog; Sign In; Join; What She Said: The Art of Pauline Kael Soundtrack. Collectively, the interviews provide rewarding perspectives on Kael's aesthetics, her politics, and her perceptions about what it is she does as a critic. Godard, Truffaut, and Bergman were all at the peak of their powers; in the U.S., Kubrick, De Palma and others were breaking the rules of conventional movie making. 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… Godard is what is meant by a “film-maker.” He works with a small crew and shifts ideas and attitudes from movie to movie and even within movies. And even before Alphaville, the people in The Married Woman were already science fiction—so blank and affectless no mad scientist was required to destroy their souls. Griffith, Eisenstein, Von Stroheim, Von Sternberg, Cocteau, Renoir, Max Ophuls, Orson Welles—they were defeated because they weren’t in a position to do what they wanted to do. They decorate a movie and it is easy for viewers to feel that they give it depth, that if followed, these clues lead to understanding of the work. Much of the movie style of young American film-makers may be explained as a reaction against the banality and luxuriant wastefulness which are so often called the superior “craftsmanship” of Hollywood. Then we regret that Godard is not the kind of artist who can provide an intellectual structure commensurate with the brilliance of his style and the quality of his details. The new Pauline Kael biography by Brian Kellow gets into this a bit, and it's not flattering to Kael at all. I have put it that way to be either irritatingly pretentious or lyrical—depending on your mood and frame of reference, in order to provide a critical equivalent to Godard’s phrases. It seems likely that many of the young who don’t wait for others to call them artists but simply announce that they are, don’t have the patience to make art. But, loving the movies that formed his tastes, he uses this nostalgia for old movies as an active element in his own movies. Pauline Kael Übersetzungen Pauline Kael. Word Count: 860. ; and there’s no special reason to congratulate people for doing underground what is driving us down there. In an edited selection from a previously unpublished transcript of the event, she explains why good films make her a better writer. Band of Outsiders is like a reverie of a gangster movie as students in an expresso (sic) bar might remember it or plan it—a mixture of the gangster film virtues (loyalty, daring) with innocence, amorality, lack of equilibrium. All attitudes and nothing behind the attitudes. Because he is skillful enough (and so incredibly disciplined) that he can make his pictures for under $100,000, and because there is enough of a youthful audience in France to support these pictures, he can do almost anything he wants within those budgetary limits. And movies, because they are such an encompassing, eclectic art, are an ideal medium for combining our experiences and fantasies from life, from all the arts, and from our jumbled memories of both. Refine See titles to watch instantly, titles you haven't rated, etc. Pauline Kael: From 1981 to 1989, I was assistant producer and co-host of the radio show, On the Arts, at CJRT-FM in Toronto. At times there is a disarming, an almost ecstatic, innocence about the way he uses quotes as if he had just heard of these beautiful ideas and wanted to share his enthusiasm with the world. Beispiele . In reaction, the young become movie brutalists. And so the experimentalists, as if to convert this liability into an advantage, have asserted that their partial use of the capabilities of the medium is the true art of the cinema, which is said to be purely visual. Perhaps a crucial difference between Cervantes’ mock romances and Godard’s mock melodramas is that Godard may (as in Alphaville) share some of his characters’ delusions. The men who made the stereotypes drew them from their own scrambled experience of history and art—as Howard Hawks and Ben Hecht drew Scarface from the Capone family “as if they were the Borgias set down in Chicago.”. His movies themselves become playful gestures, games in which you succeed or fail with a shrug, a smile. This book reprints all of Pauline Kael's late '60s columns from the New Yorker magazine. (There are, of course, some young film-makers who are not interested in movies as we ordinarily think of them, but in film as an art-medium like painting or music), and this kind of work must be looked at a different way—without the expectation of story content or meaning.) His characters don’t plan or worry about careers or responsibilities; they just live. He got an ovation, of course. She was one of the most influential American film critics of her era. In a Hollywood movie, the big scenes usually look pie- arranged; in a film by David Lean, one is practically wired to react to the hard work that went into gathering a crowd or dressing a set. The Criterion Collection. Youth makes them natural aristocrats in their indifference to sustenance, security, hard work; and prosperity has turned a whole generation—or at least the middle-class part of it—into aristocrats. The tawdry American Nights of gangster movies that were the magic of Godard’s childhood formed his style—the urban poetry of speed and no afterthoughts, fast living and quick death, no padding, no explanations—but the meaning had to change. Even his world of the future, Alphaville, is, photographically, a documentary of Paris in the present. Weekend, for example — which for many is an extraordinary work of singular, spontaneous genius — is a real Excedrin Headache to sit through. By Pauline Kae l. February 13, 1971 Save this story for later. His next film was going to be about a girl and a gun—”A sure-fire story which will sell a lot of tickets.” And so, like Henry James’ hero in The Next Time he proceeded to make a work of art that sold fewer tickets than ever. Godard’s conception of technique can be taken as a highly intellectualized rationale for these attitudes. Preposterous as much of this seems, it is theoretically not so far from Godard’s way of working. The young are not “trying to forget”: they just don’t think in those terms. At one point he quotes Kael's review of … Either you can draw or you can’t. They also contain discussions of films that Kael did not have the chance to … And a caricature of this way of talking is common among young American film-makers. Godard is not, like Hollywood’s product producers, naïve (or cynical) enough to remake the movies he grew up on. Übereinstimmung alle exakt jede Wörter . But, in the spirit of Godard’s own exhortation (addressed, in the first instance, to Pauline Kael) that critics must “bring in the evidence” in their analyses, and not just rely on faulty recollections or selective descriptions, we audiovisually explore two operations. For this is the rapture with “thoughts” of those whose minds aren’t much sullied by thought. They’re “inspirations”—bright illuminations from nowhere—and this is what kids who think of themselves as poetic or artistic or creative think ideas are: noble sentiments. Reviewers often complain that they can’t take him seriously; when you consider what they do manage to take seriously, this is not a serious objection. 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. Kael was known for her "witty, biting, highly opinionated and sharply focused" reviews, her opinions often contrary to those of her contemporaries. And their movie “ideas” are frequently staging and shooting a wild, weird party. by Pauline Kael. Godard, Jean Luc [remove] 5; Document: film title. I once had the experience, as chairman of the jury at an experimental film festival, of getting on the stage in the black silk dress I had carefully mended and ironed for the occasion, to present the check to the prizewinner who came forward in patched, faded dungarees. A child fashion model and a performer in several Broadway productions as a Ziegfeld Girl, she became a major star of the Paramount Studio in the 1940s. His next film was going to … He doesn’t, like many artists, deny the past he has outgrown; perhaps he is assured enough not to deny it, perhaps he hasn’t quite outgrown it. Shortly before her death last year Francis Davis spoke to her about Hitchcock, Jaws, … They’re orphans, by extension, in a larger sense, too, unconnected with the world, feeling out of relationship to it. In addition to the corpses of old dramatic ideas (touched up here and there to look cute as if they were alive), big movies carry the dead weight of immobile cameras, all-purpose light, whorehouse décor. As proof that they do not mar their instinct with pedantry or judgment, they may retain the blank leader to the roll of film. These men (and their films) are not flamboyant; they don’t issue manifestos, and they don’t catch the imagination of youth. You play at cops and robbers but the bullets can kill you. A student’s idea of a film-maker isn’t someone who has to sit home and study and think and work—as in most of the arts—but go out with friends and shoot. In certain groups, automatic writing with a camera has come to be considered the most creative kind of film-making. Songs and music … Silly? His characters are young; unrelated to families and background. Those who said they were going to make art movies not only didn’t consider it worth their while to go to see ordinary commercial movies, but usually didn’t even know anything much about avant-garde film. Total satire is opportunistic and easy; what’s difficult is to make a movie about something—without making a fool of yourself. I did not pursue the subject of “art-songs” with this young man because it was perfectly clear that he wasn’t going to do anything. To be hard and cool as a movie gangster yet not stupid or gross like a gangster—that’s the cool grace of the privileged, smart young. Pauline Kael [remove] 5; Document: director as subject. It’s always been relatively respectable, and sometimes fashionable, to respond to our own experience in terms drawn from the arts: To relate a circus scene to Picasso, or to describe the people in a Broadway delicatessen as an Ensor. Even if colleges and foundations make it easier than it has ever been, they will need not only talent but toughness to be independent. “Creativity” is a quick route to power and celebrity. They’re rich and rotten.” But, of course, you can be poor and not so very honest and, although it’s harder to believe, you can even be rich and not so very rotten. The two heroes of Band of Outsiders begin by play-acting crime and violence movies, then really act them out in their lives. Erratene Übersetzungen. The immediate is chance. WorldCat Home About ... a debate [between] Jean-Luc Godard and Pauline Kael \/ Camera Obscura -- Annals of film criticism : Pauline Kael \/ Kristine McKenna -- Did she lose it at the movies? For a younger generation he is the proof that it is possible to make and go on making films your own way. An artist may regret that he can no longer experience the artistic pleasures of his childhood and youth, the very pleasures that formed him as an artist. This nostalgia that permeates Band of Outsiders may also derive from Godard’s sense of the lost possibilities in movies. She goes on to call Kubrick an amateur and that the only viewers who enjoy the film are those that are stoned or idiots. To say it flatly, Godard is the Scott Fitzgerald of the movie world, and movies are for the sixties a synthesis of what the arts were for the post-World-War-I generation—rebellion, romance, a new style of life. They probably won’t be able to make satisfying movies until the problems of sound are solved not only technically but in terms of drama, structure, meaning, relevance. She states the story line is the “most gloriously redundant plot of all time” (Abrahams 223), insisting that no point is made in the movie. This, however we may feel about it, is a contemporary mood; and Godard, who expresses it, is part of it. Because Godard’s movies do not let us forget that we’re watching a movie, it’s easy to think he’s just kidding. What is not so generally understood is the studio executives’ implicit assumption that this is also what American audiences like. Godard’s power—and possibly his limitation—as an artist is that he so intensely expresses how they do feel and think. It is the Fellini-Guido figure of 8 ½, the movie director as star. → Buy a print issue The shrewdest thing to say about Pauline Kael – beyond recognising that she was essential – is that she was kind of crazy. It is like the sackcloth of true believers which they wear in moral revulsion against the rich in their fancy garments. Even their notion of creativity—as what comes naturally—is surprisingly similar to the aristocratic artist’s condescension toward those middle-class plodders who have to labor for a living, for an education, for “culture.”. WorldCat Home About ... a debate [between] Jean-Luc Godard and Pauline Kael \/ Camera Obscura -- Annals of film criticism : Pauline Kael \/ Kristine McKenna -- Did she lose it at the movies? One of Kael’s friends observed that while writing, Kael “had the habit of holding her breath as she began each sentence and gasping explosively for air only when she … But maybe he hasn’t; maybe he has artistry of a different kind. Although his technical control is superb, so complete that one cannot tell improvisation from planning, the ideas and bits of business are often so arbitrary that they appear to be (and probably are) just things that he chanced to think of that day, or that he came across in a book he happened to be reading. They are most alive (and most appealing) just because they don’t conceive of the day after tomorrow; they have no careers, no plans, only fantasies of the roles they could play, of careers, thefts, romance, politics, adventure, pleasure, a life like in the movies. That was more a confession than a description. They have been soaked up by the screen. This inexpensive, inexperienced, untrained look serves as a kind of testimonial to sincerity, poverty, even purity of intentions. Yet why are the Hollywood movies, even the worst overstuffed ones, often easier to sit through than the short experimental ones? Their hero, Jean-Luc Godard—one of the most original talents ever to work in film and one of the most uneven—is not a brutalist at so simple a level, yet he comprises the attitudes of a new generation. Godard’s sense of the present is dominated by his movie past. She knows, as did Agee and War-show, that when you walk … Conversations with Pauline Kael brings together roughly half of Kael's published interviews along with a lively debate between Kael and Jean-Luc Godard. We’ve discounted annual subscriptions by 50% for our End-of-Year sale—Join Now! I knew form other young men that the term “art” used as an adjective meant that they were by-passing even the most rudimentary knowledge in the field. ... (This does not apply to a man like Jean-Luc Godard, who is not a mass-medium movie director.) I think those most responsive to Godard’s approach probably do both simultaneously. Полин Кейл @HeiNER - the Heidelberg Named Entity Resource. Paulette Goddard (June 3, 1910 – April 23, 1990) was an American actress. Pauline Kael / September 24, 1966. By Pauline Kae l. February 13, 1971 Save this story for later. Good, liberal parents didn’t want to push their kids in academic subjects but oohed and aahed with false delight when their children presented them with a baked ashtray or a woven doily. If they are necessary, it falls short of the mark. Now we’re surrounded, inundated, by artists. The period was also an age of spectacles like Planet of the Apes, The Lion in Winter, and Yellow Submarine. Weekend, for example — which for many is an extraordinary work of singular, spontaneous genius — is a real Excedrin Headache to sit through. I don’t hate Godard, but he’s very easy to hate during certain films. On 25 July 1982, at London’s National Film Theatre, Pauline Kael invited questions from the audience. The period was also an age of spectacles like Planet of the Apes, The Lion in Winter, and Yellow Submarine. But some of the young who say they’re going to make “art movies” are actually beginning to make movies. The reason they all hate the squares is because the squares remind them of the one thing they are trying to forget: there is a Future and you must build for it.”, He’s wrong, I think. Legendary New Yorker film critic Pauline Kael is the subject of a new documentary, now at the Gene Siskel Film Center. “Andrew Sarris, ‘who loved movies’ (as Roger Ebert described him), was long considered the ‘dean of American film critics.’Reading the accounts and appreciations of him today, I was surprised to see how many people perpetuated the myth that Sarris and Pauline Kael were like the print era’s Siskel & Ebert who, instead of facing off with each other over new … Listen to trailer music, OST, original score, and the full list of popular songs in the film. I don’t mean that there haven’t been earlier generations of directors who grew up on movies, but that it took the peculiar post-World-War-II atmosphere to make love of movies a new and semi-intellectualized romanticism. Godard, Truffaut, and Bergman were all at the peak of their powers; in the U.S., Kubrick, De Palma and others were breaking the rules of conventional movie making. What I want is the definitive by chance.” Sometimes, almost magically, he seems to get it—as in many scenes of Breathless and Band of Outsiders—but often, as in The Married Woman, he seems to settle for arbitrary effects. If the most that a gifted colorist like Lucien Ballard can hope for is to beautify a John Michael Hayes screenplay—giving an old tart a fresh complexion—why not scratch up the image? Like cool Peter Pans, they just take off and fly. Home. Pauline Kael is a moviegoer, as were James Agee and Robert Warshow—before Miss Kael, the only two really special American writers on the subject of the movies. If the honking horns (which to an acolyte like Pauline Kael sounded like something out of Purcell) don’t do you in, then the black guy on the garbage truck will. His characters don’t seem to have any future. What was to be a simple commercial movie about a robbery became. (All of his films are in that sense documentaries—as were also, and also by necessity, the grade B American gangster films that influenced him.) 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." Essays and criticism on Jean-Luc Godard - Pauline Kael. Keine Beispiele gefunden. → Buy a print issue Little is hard about Bruce Baillie or Carroll Ballard whose camera skills expose how inept, inefficient, and unimaginative much of Hollywood’s self-praised work is, or about the elegance and grandeur of Jordan Belson’s short abstract films, like Allures, that demonstrate that one man working in a basement can make Hollywood’s vaunted special effects department look archaic. Their girl, wanting to be accepted, tells them there is money in the villa where she lives. 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. Sie können ein Suche mit weniger scharfen Kriterien versuchen, … More Pauline Kael in the July 2019 issue of Sight & Sound Mission critical. Essays and criticism on Jean-Luc Godard - Pauline Kael. He has said, “As soon as you can make films, you can no longer make films like the ones that made you want to make them.” This we may guess is not merely because the possibilities of making big expensive movies on the American model are almost non-existent for the French but also because, as the youthful film enthusiast grows up, if he grows in intelligence, he can see that the big expensive movies now being made are not worth making. Instant Watch Options; Genres; Movies or TV; IMDb Rating; In Theaters; On TV ; Release Year; Keywords; Prime Video (31) … More: Andrew Sarris Cahiers du Cinema Jean-Luc Godard Pauline Kael Wes Anderson. “I used to have a dress like that once.”, Pauline Kael’s Rousing, Visionary Review that Helped Bring the French New Wave to America. This is the 5th collection of Pauline Kael's film reviews from the New Yorker magazine covering the period September 1972 to May 1975. Pauline Kael’s Rousing, Visionary Review that Helped Bring the French New Wave to America . 25 December 2020; 20 songs; Follow. CineFiles is a free online database of film documentation and ephemera Yet determined to … Pauline Kael: 1919-2001 The lights go down on America's greatest movie critic By Owen Gleiberman What makes Bernardo Bertolucci’s films different from the work of older directors is an extraordinary combination of visual richness and visual freedom. Rough work looks in rebellion and sometimes it is: there’s anger and frustration and passion, too, in those scratches and stains and multiple super-impositions that make our eyes swim. Pauline Kael’s nose was too keen, Deep Throat’s musk too potent for their encounter to be other than inevitable. Although many of the American experimentalists have developed extraordinary kinds of technique, it is no accident that the virtuoso technicians who can apparently do almost anything with drawing board or camera are not taken up as the heroes of the youth in the way that brutalists are. Few seem to have noticed that by the time of Juliet of the Spirits he had turned into a professional party-giver. Is Hollywood interested in the young movement? If the honking horns (which to an acolyte like Pauline Kael sounded like something out of Purcell) don’t do you in, then the black guy on the garbage truck … And a staggering number of them wish to be or already call themselves “film-makers.”. Toggle navigation. In her distinctive and … They’re a generation of familiar strangers. By now—so accelerated has cultural history become—we have those students at colleges who when asked what they’re interested in say, “I go to a lot of movies.” And some of them are so proud of how compulsively they see everything in terms of movies and how many times they’ve seen certain movies that there is nothing left for them to relate movies to. But if those who follow the clues come out with odd and disjunctive interpretations, this is because the “clues” are not integral to the movie but are clues to what else the artist was involved in while he was making the movie. And then she names the three directors she feels are making the most exciting movies right now: Francis Ford Coppola, an Italian-American; Martin Scorsese, who grew up in New York's Little … Algorithmisch generierte Übersetzungen anzeigen Anzeigen . CineFiles is a free online database of film documentation and ephemera When I was in my twenties, I didn’t just loaf around, being a rebel, I went places and did things. Kids who can’t write, who have never developed any competence in photography, who have never acted in nor directed a play, see no deterrent to making movies. And some of Kael's favorites return on 35MM. They simply take short cuts into other art forms or into pop arts where they can “express themselves” now. Flashdance US (1983): Drama 96 min, Rated R, Color, Available on videocassette and laserdisc A lulling, narcotizing musical, it sells the kind of romantic story that was laughed off the screen 30 years ago, and then made a comeback with ROCKY I, II, and III, and it's like a sleazo putting the make on you. Here, too, Godard is the symbol, exemplar, and proof. This book reprints all of Pauline Kael's late '60s columns from the New Yorker magazine. 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. Putting into the work whatever just occurred to the artist is its own rationale and needs no justification for young Americans encouraged from childhood to express themselves creatively and to speak out whatever came into their heads. Because they have actors and a story. At times it seems as if the movie had no points of reference outside itself. David O' Selznick was pleased with Paulette Goddard's performances, particularly her work in The Young in Heart, and considered her for the role of Scarlett O'Hara in Gone With the Wind (Victor Fleming, 1939). PAULINE KAEL: TOP RATED FILMS by eean_dee | created - 15 Jun 2017 | updated - 18 Jun 2017 | Public The infamous film critic Pauline Kael's top rated films as of the time of her demise in 2001. First, we raise Maupassant’s text, once again, to the surface of the film, for the sake of a comparative reading. Pauline Kael. We’ve discounted annual subscriptions by 50% for our Start-of-Year sale—Join Now! In this achievement of independence, he is almost alone among movie directors: it is a truly heroic achievement. The world of Band of Outsiders is both “real”—the protagonists feel, they may even die; and yet “unreal” because they don’t take their own feelings or death very seriously, as if they weren’t important to anybody, really. The difference is in how easily they do it all. And although most of the results are bad beyond our wildest fears, as if to destroy all our powers of prediction, a few, even of the most ignorant, pretentious young men and women, are doing some interesting things. Godard Among the Gangsters. The … I heard a young film-maker put it this way to a teenage art student: “What do you go to life-class for? I had seen him the night before in a good dark suit, but now he had dressed for his role (deserving artist) as I had dressed for mine (distinguished critic). Paulette Goddard (born Marion Levy; June 3, 1910 – April 23, 1990) was an American actress, a child fashion model and a performer in several Broadway productions as a Ziegfeld Girl; she became a major star of Paramount Pictures … 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… 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. The workmen’s clothes and crude movie techniques may cry out, “We’re poor and honest. Godard in his films seems to say; only this kind of impossible romance is possible. “The ideal for me,” he says, “is to obtain right away what will work—and without retakes. The New Yorker Movie Club. In many foreign countries, it is this very luxuriousness that is most envied and admired in American movies: the big cars, the fancy food, the opulent bachelor lairs, the gadget-packed family homes, even the loaded freeways and the noisy big cities. While Hollywood producers straddle huge fences trying to figure out where the action is supposed to be—and never find out—Godard is in himself where the action is. Maybe he is attempting to escape from freedom when he makes a beautiful work and then, to all appearances, just throws it away. He plays with his belief and disbelief, and this playfulness may make his work seem inconsequential and slighter than it is: It is as if the artist himself were deprecating any large intentions and just playing around in the medium. And we watch, apprehensive and puzzled, as the three of them act out the robbery they’re committing as if it were something going on in a movie—or a fairy tale. Legendary New Yorker film critic Pauline Kael is the subject of a new documentary, now at the Gene Siskel Film Center. What the young seem to be interested in is brutalism. Only the title of Jean-Luc Godard’s new film is casual and innocent; Weekend is the most powerful mystical movie since The Seventh Seal and Fires on the Plain and passages of Kurosawa. At the same time it is definitive. There is little interest in the work of gifted, intelligent men outside the industry like James Blue (The Olive Trees of Justice)or John Korty (The Crazy Quilt) who are attempting to make inexpensive feature-films as honestly and independently as they can. Toggle navigation. It’s important to get exposure.” One can imagine their faces if they had to listen to those teachers who used to tell us that you had to be able to do things the traditional ways before you earned the right to break loose and do it your way. 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