Pauline Kael
Pauline Kael
Pauline Kaelwas an American film critic who wrote for The New Yorker magazine from 1968 to 1991. Earlier in her career, her work appeared in City Lights, McCall's and The New Republic...
NationalityAmerican
ProfessionJournalist
Date of Birth19 June 1919
CountryUnited States of America
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Reality, like God and History, tends to direct people to wherever they want to go.
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If it took some effort to see old movies, we might try to find out which were the good ones, and if people saw only the good ones maybe they would still respect old movies. As it is, people sit and watch movies that audiences walked out on thirty years ago.
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Really, it's not people who don't understand us who drive us nuts—it's when those who shouldn't, do.
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Watching old movies is like spending an evening with those people next door. They bore us, and we wouldn't go out of our way to see them; we drop in on them because they're so close. If it took some effort to see old movies, we might try to find out which were the good ones, and if people saw only the good ones maybe they would still respect old movies. As it is, people sit and watch movies that audiences walked out on thirty years ago. Like Lot's wife, we are tempted to take another look, attracted not by evil but by something that seems much more shameful -- our own innocence.
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The romance of movies is not just in those stories and those people on the screen but in the adolescent dream of meeting others who feel as you do about what you’ve seen.
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We may be reaching the end of the era in which individual movies meant something to people. In the new era, movies may just mean a barrage of images.
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In a foreign country people don't expect you to be just like them, but in Los Angeles, which is infiltrating the world, they don't consider that you might be different because they don't recognize any values except their own. And soon there may not be any others.
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For some strange reason we don't go to charming, light movies anymore. People expect a movie to be heavy and turgid, like "American Beauty." We've become a heavy-handed society.
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The critical task is necessarily comparative, and younger people do not truly know what is new
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The words ""Kiss Kiss Bang Bang"" which I saw on an Italian movie poster, are perhaps the briefest statement imaginable of the basic appeal of movies
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The words ''Kiss Kiss Bang Bang,'' which I saw on an Italian movie poster, are perhaps the briefest statement imaginable of the basic appeal of movies. This appeal is what attracts us, and ultimately what makes us despair when we begin to understand how seldom movies are more than this.
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says Lopez. ''They're right near where I live; and they have such a great film program over there it seemed a perfect place for it.
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Brando represented a reaction against the postwar mania for security. As a protagonist, the Brando of the early 50's had no code, only his instincts. He was a development from the gangster and the outlaw.
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I see little of more importance to the future of our country and of civilization than full recognition of the place of the artist. If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him.