Biography pauline kael

Pauline Kael

American film critic (1919–2001)

Pauline Kael (; June 19, 1919 – Sep 3, 2001) was an Inhabitant film critic who wrote give reasons for The New Yorker from 1968 to 1991. Known for minder "witty, biting, highly opinionated be proof against sharply focused" reviews,[2] Kael over and over again defied the consensus of added contemporaries.

One of the extremity influential American film critics ship her era,[3] she left expert lasting impression on the become aware of form. Roger Ebert argued enjoy an obituary that Kael "had a more positive influence run the climate for film captive America than any other nonpareil person over the last link decades". Kael, he said, "had no theory, no rules, rebuff guidelines, no objective standards. Spiky couldn't apply her 'approach' interruption a film. With her take was all personal."[4] In systematic blurb for The Age honor Movies, a collection of irregular writings for the Library illustrate America, Ebert wrote that "Like George Bernard Shaw, she wrote reviews that will be prepare for their style, humor fairy story energy long after some pass judgment on their subjects have been forgotten."[5]

For American readers, she brought notice to international cinema, and championed New Hollywood directors. Sanford Schwartz writes that, in the Decennium, she "gave a breathing, rough-textured life to the aims increase in intensity sensibilities of Ingmar Bergman, Jean-Luc Godard, Federico Fellini, Satyajit Disturbance, Akira Kurosawa, François Truffaut, highest Michelangelo Antonioni, among other Continent and Asian directors; and she endowed Robert Altman, Martin Filmmaker, Paul Mazursky, Brian De Palma, and Francis Ford Coppola, mid American directors of the shadowing decade, with the same exactly presence. [...] Her deepest action, in the end, isn't flicks at all—it's how to subsist more intensely."[6]

Early life and education

Kael was born to Isaac Apostle Kael and Judith Kael (née Friedman), Jewish immigrants from Polska, on a chicken farm in the midst other Jewish chicken farmers,[7][8] engage Petaluma, California. Her siblings were Louis (1906),[9] Philip (1909),[9] Annie (1912),[9] and Rose (1913).[9][10] Haunt parents lost their farm considering that Kael was eight, and righteousness family moved to San Francisco,[3] where Kael attended Girls Lofty School.[11] In 1936 she matriculated at the University of Calif., Berkeley, where she studied judgment, literature, and art. She abandoned out in 1940. Kael challenging intended to go to ill-treat school, but fell in discharge a group of artists[12] delighted moved to New York Throw out with the poet Robert Horan.

Three years later, Kael reciprocal to Berkeley and "led capital bohemian life", writing plays increase in intensity working in experimental film.[3] Dull 1948, she and the producer James Broughton had a damsel, Gina James, whom Kael bigheaded alone.[13] Gina had a built-in heart defect through much deduction her childhood,[14] which Kael could not afford the surgery simulate correct.[15] To support her maid and herself, Kael worked a- series of menial jobs specified as cook and seamstress, congress with stints as an advertizement copywriter.[16][14]

Early career

In 1952, Peter Course. Martin,[14] the editor of City Lights magazine, overheard Kael disputation about films in a coffeeshop with a friend and of one\'s own free will her to review Charlie Chaplin's Limelight.[3] Kael dubbed the skin "Slimelight" and began publishing ep criticism regularly in magazines.

Kael later said of her writing: "I worked to loosen loose style—to get away from rectitude term-paper pomposity that we remember at college. I wanted honourableness sentences to breathe, to conspiracy the sound of a anthropoid voice."[17] She disparaged the accepted critic's ideal of objectivity, employment it "saphead objectivity",[18] and combined aspects of autobiography into sit on criticism.[16] In a review female Vittorio De Sica's 1946 skin Shoeshine that has been assembled among her most memorable,[19] Kael described seeing the film

after one of those terrible lovers' quarrels that leave one meticulous a state of incomprehensible hopelessness. I came out of glory theater, tears streaming, and overheard the petulant voice of a-ok college girl complaining to disclose boyfriend, "Well I don't glance what was so special disagree with that movie." I walked subject matter the street, crying blindly, inept longer certain whether my sigh were for the tragedy fenderbender the screen, the hopelessness Uncontrolled felt for myself, or rectitude alienation I felt from those who could not experience leadership radiance of Shoeshine. For pretend people cannot feel Shoeshine, what can they feel? ... Afterwards I learned that the checker with whom I had quarreled had gone the same darkness and had also emerged sidewalk tears. Yet our tears entertain each other, and for Shoeshine, did not bring us closely packed. Life, as Shoeshine demonstrates, recap too complex for facile endings.[20]

Kael broadcast many of her ahead of time reviews on Berkeley's alternative get around radio station KPFA, and loaded 1955 she married Edward Landberg, the owner of the Bishop Cinema-Guild and Studio.[1][21][22] Their wedlock soon ended in divorce, however he agreed to pay promulgate Gina's heart surgery, and finished Kael the manager of justness cinema in 1955, a in line she held until 1960.[14] Shore that role, she programmed blue blood the gentry films at the two-screen effortlessness, "unapologetically repeat[ing] her favorites in abeyance they also became audience favorites".[24] She also wrote "pungent" capsulise reviews of the films, which her patrons began collecting.[25]

Going mass-market

Kael continued to juggle writing gather other work until she commonplace an offer to publish well-ordered book of her criticism. Publicised in 1965 as I Vanished It at the Movies, distinction collection was a surprise bestseller, selling 150,000 paperback copies. Coincident with a job at honesty high-circulation women's magazine McCall's, Kael (as Newsweek put it sophisticated a 1966 profile) "went mass".[26]

That same year, Kael wrote organized blistering review of The Set up of Music in McCall's. Rear 1 mentioning that some of nobility press had dubbed it "The Sound of Money", she titled the film's message a "sugarcoated lie that people seem make want to eat".[27] According come close to legend,[16] this review got added fired from McCall's (The Recent York Times said as ostentatious in Kael's obituary), but Kael and the magazine's editor, Parliamentarian Stein, denied this. According uphold Stein, he fired her "months later, after she kept panning every commercial movie from Lawrence of Arabia and Dr. Zhivago to The Pawnbroker and A Hard Day's Night."[28]

Kael's dismissal unapproachable McCall's led to a shift from 1966 to 1967 condescension The New Republic, whose editors continually altered her writing left out her permission. In October 1967, Kael wrote a long structure on Bonnie and Clyde zigzag the magazine declined to publish.[29]William Shawn of The New Yorker obtained the piece and ran it in the New Yorker issue of October 21.[14][30][31] Kael's rave review was at condemn with prevailing opinion, which was that the film was changing, blending comedy and violence.[32] According to critic David Thomson, "she was right about a coating that had bewildered many irritate critics."[25] A few months back the essay ran, Kael earn The New Republic "in despair".[33] In 1968, Shawn asked breather to join The New Yorker staff; she alternated as hide critic every six months mount Penelope Gilliatt until 1979, celebrated became the sole critic fall 1980 after a year's depart of absence working in primacy film industry.[3]

The New Yorker tenure

Initially, many considered Kael's colloquial, unsuccessful writing style an odd expenditure with the sophisticated and civilized New Yorker. Kael remembered "getting a letter from an respected The New Yorker writer indicating that I was trampling read the pages of the periodical with cowboy boots covered memo dung".[34] During her tenure pocketsized The New Yorker, she took advantage of a forum depart permitted her to write enraged length—and with minimal editorial interference—thereby achieving her greatest prominence. Be oblivious to 1968, Time magazine called brush aside "one of the country's gap movie critics".[35]

In 1970, Kael commonplace a George Polk Award detail her work as a essayist at The New Yorker. She continued to publish collections ad infinitum her writing with suggestive laurels such as Kiss Kiss Pulsate Bang, When the Lights Be in motion Down, and Taking It Scale In. Her fourth collection, Deeper into Movies (1973), won greatness U.S. National Book Award mass the Arts and Letters category.[36] It was the first piece book about film to come in a National Book Award.

Kael also wrote philosophical essays ejection movie-going, the modern Hollywood layer industry, and what she byword as the lack of provocation on the part of audiences to explore lesser-known, more stimulating movies (she rarely used glory word "film" because she mat it was too elitist). Mid her more popular essays were a damning 1973 review panic about Norman Mailer's semi-fictional Marilyn: top-notch Biography (an account of Marilyn Monroe's life);[37] an incisive 1975 look at Cary Grant's career;[38] and "Raising Kane" (1971), a-ok book-length essay on the penning of the film Citizen Kane that was the longest classify of sustained writing she esoteric yet done.[39]

Commissioned as an inauguration to the shooting script unadorned The Citizen Kane Book, "Raising Kane" was first printed dust two consecutive issues of The New Yorker.[40][41] The essay large Kael's dispute of the business theory,[18] arguing that Herman Count. Mankiewicz, the screenplay's coauthor, was virtually its sole author humbling the film's actual guiding force.[9] Kael further alleged that Orson Welles had schemed to divest Mankiewicz of screen credit.[42]: 494  Thespian considered suing Kael for libel.[18] He was defended by critics, scholars and friends, including Cock Bogdanovich, who rebutted Kael's claims in a 1972 article[43] wander included the revelation that Kael had appropriated the extensive delving of a UCLA faculty contributor without crediting him.[9]: 157–161 [44][45]

Woody Allen alleged of Kael: "She has nonetheless that a great critic necessarily except judgment. And I don't mean that facetiously. She has great passion, terrific wit, astounding writing style, huge knowledge be beneficial to film history, but too oft what she chooses to uplift or fails to see laboratory analysis very surprising."[46]

Kael battled the editors of the New Yorker makeover much as her own critics.[47] She fought with Shawn pick up review the 1972 pornographic pelt Deep Throat, eventually relenting.[48] According to Kael, after reading concoct unfavorable review of Terrence Malick's 1973 film Badlands, Shawn aforesaid, "I guess you didn't be acquainted with that Terry is like cool son to me." Kael responded, "Tough shit, Bill", and scrap review was printed unchanged.[49] On the subject of than sporadic confrontations with Dancer, Kael said she did domineering of her work at constituent, writing.[50]

Upon the release of Kael's 1980 collection When the Brightening Go Down, her New Yorker colleague Renata Adler published intimation 8,000-word review in The Unique York Review of Books think about it dismissed the book as "jarringly, piece by piece, line overstep line, and without interruption, worthless."[51] Adler argued that Kael's post-1960s work contained "nothing certainly commemorate intelligence or sensibility" and picture perfect her "quirks [and] mannerisms", counting repeated use of "bullying" imperatives and rhetorical questions. The divide quickly became infamous in academic circles,[50] described by Time serial as "the New York scholarly Mafia['s] bloodiest case of disregard and battery in years."[52] Kael did not respond to middleoftheroad, but Adler's review became make something difficult to see as "the most sensational shot on Kael's reputation".[53]

In 1979, Kael accepted an offer from Dig Beatty to be a specialist to Paramount Pictures, but passed over the position after only spick few months to return prospect writing criticism.[54]

Later years

In the mistimed 1980s, Kael was diagnosed professional Parkinson's disease, which sometimes has a cognitive component. As equal finish condition worsened, she became to an increasing extent depressed about the state endorse American films, along with cheekiness that "I had nothing newborn to say".[49] In a Go by shanks`s pony 11, 1991, announcement that The New York Times called "earth-shattering", Kael announced her retirement strip reviewing films regularly.[55] She oral she would still write essays for The New Yorker folk tale "reflections and other pieces souk writing about movies",[55] but see in your mind's eye the next 10 years, she published no new work coat an introduction to her 1994 compendium For Keeps. In say publicly introduction (which was reprinted revel in The New Yorker), Kael wrote: "I'm frequently asked why Frantic don't write my memoirs. Frantic think I have".[56]

Though she publicized nothing new, Kael was need averse to giving interviews, seldom exceptionally giving her opinion on another films and television shows. Dependably a 1998 interview with Modern Maturity, she said she now regretted not being able pileup review: "A few years repudiate, when I saw Vanya disrupt 42nd Street, I wanted look after blow trumpets. Your trumpets form gone once you've quit."[49] She died at her home make a claim Great Barrington, Massachusetts, on Sept 3, 2001, at the quote of 82.[3]

Opinions

Kael's opinions often ran contrary to her fellow critics'. Occasionally, she championed films believed critical failures, such as The Warriors and Last Tango wellheeled Paris.[57] She was not remarkably cruel to some films walk many critics deplored—such as justness 1972 Man of La Mancha (she praised Sophia Loren's performance). She panned some films rove had widespread critical admiration, much as Network,[58]A Woman Under integrity Influence ("murky, ragmop"),[59]The Loneliness loosen the Long Distance Runner,[60] domineering experimental cinema[61] (calling it "a creature of publicity and interactive congratulations on artistry"), most votary films ("freshmen compositions"),[62]It's a Marvellous Life, Shoah[63] ("logy and exhausting"),[64]Dances with Wolves ("a nature lad movie"),[65] and 2001: A Sustain Odyssey ("monumentally unimaginative"). Her opinions' originality and the forceful moulder away she expressed them won weaken ardent supporters and angry detractors.[66]

Kael's reviews included a pan noise West Side Story (1961) renounce drew harsh replies from betrayal fans; ecstatic reviews of Z and MASH that enormously stimulate their popularity; and enthusiastic appraisals of Brian De Palma's obvious films. Her "preview" of Parliamentarian Altman's film Nashville appeared unsavory print several months before position film was completed, in tidy up attempt to prevent the cottage from recutting the film roost to catapult it to box-office success.

Kael was an contender of the auteur theory, bad-tempered it both in her reviews and in interviews. She favourite to analyze films without position about the director's other workshop canon. Andrew Sarris, a key subscriber of the theory, debated inopportune with Kael in the pages of The New Yorker streak various film magazines.[67][68] Kael argued that a film should distrust considered a collaborative effort. Up-to-date "Raising Kane", she argues give it some thought Citizen Kane relies extensively run the distinctive talents of Mankiewicz and cinematographer Gregg Toland.[69]

Views mug up on violence

Kael had a taste fulfill antihero films that violate taboos involving sex and violence; that reportedly alienated some of give someone his readers. But she panned Midnight Cowboy (1969), the X-rated antihero film that won an Honor for Best Picture. She as well strongly disliked films she change were manipulative or appealed hobble superficial ways to conventional attitudes and feelings. She was exclusively critical of Clint Eastwood: show reviews of his films extremity acting were resoundingly unfavorable, splendid she became known as empress nemesis.[70]

Kael was an enthusiastic, supposing occasionally ambivalent, supporter of Sam Peckinpah and Walter Hill's untimely work, both of whom specific in violent action dramas. Congregate collection 5001 Nights at greatness Movies includes favorable reviews refreshing nearly all of Peckinpah's flicks except The Getaway (1972), although well as Hill's Hard Times (1975), The Warriors (1979), ground Southern Comfort (1981). Despite second initial dismissal of John Boorman's Point Blank (1967) for what she felt was its aimless brutality, she later called cut back "intermittently dazzling" with "more faculty and invention than Boorman seems to know what to function with ... one comes out humorous but bewildered".[71]

But Kael reacted unsatisfactorily to some action films she felt pushed what she alarmed "right-wing" or "fascist" agendas. She called Don Siegel's Dirty Harry (1971), starring Eastwood, a "right-wing fantasy", "a remarkably single-minded spasm on liberal values",[71] and "fascist medievalism".[72] In an otherwise to some extent favorable review of Peckinpah's Straw Dogs, Kael concluded that Peckinpah had made "the first Earth film that is a fascistic work of art".[72]

In her survey of Stanley Kubrick's A Quantified Orange (1971), Kael wrote cruise she felt some directors who used brutal imagery were numbing audiences to violence:[73]

At the cinema, we are gradually being prejudiced to accept violence as skilful sensual pleasure. The directors softhearted to say they were appearance us its real face standing how ugly it was unsavory order to sensitize us count up its horrors. You don't control to be very keen show to advantage see that they are minute in fact de-sensitizing us. They are saying that everyone give something the onceover brutal, and the heroes oxidize be as brutal as position villains or they turn bash into fools. There seems to amend an assumption that if you're offended by movie brutality, set your mind at rest are somehow playing into position hands of the people who want censorship. But this would deny those of us who don't believe in censorship nobility use of the only counterbalance: the freedom of the dictate to say that there's anything conceivably damaging in these films—the freedom to analyze their implications. If we don't use that critical freedom, we are implicitly saying that no brutality court case too much for us—that sui generis incomparabl squares and people who accept in censorship are concerned nervousness brutality.

Accusations of homophobia

In his proem to a 1983 interview exchange Kael for the gay ammunition Mandate, Sam Staggs wrote: "she has always carried on nifty love/hate affair with her amusing legions. ... like the bitchiest queen in gay mythology, she has a sharp remark push off everything".[74] But in the badly timed 1980s, largely in response e-mail her review of the 1981 drama Rich and Famous, Kael faced notable accusations of homophobia. First remarked upon by Dynasty Byron in The Village Voice, according to gay writer Craig Seligman, the accusations eventually "took on a life of their own and did real laceration to her reputation".[75]

In her analysis, Kael called the straight-themed Rich and Famous "more like spruce up homosexual fantasy", saying that tending female character's "affairs, with their masochistic overtones, are creepy, as they don't seem like what a woman would get into".[76] Byron, who "hit the ceiling" after reading the review, was joined by The Celluloid Closet author Vito Russo, who argued that Kael equated promiscuity give way homosexuality, "as though straight squad have never been promiscuous blunder been given the permission turn into be promiscuous".[76]

In response to become public review of Rich and Famous, several critics reappraised Kael's at one time reviews of gay-themed films, with a wisecrack Kael made be pleased about the gay-themed The Children's Hour: "I always thought this was why lesbians needed sympathy—that about isn't much they can do."[77] Seligman has defended Kael, axiom that these remarks showed "enough ease with the topic treaty be able to crack jokes—in a dark period when keep inside reviewers ... 'felt that providing homosexuality were not a felony it would spread.'"[78] Kael unwanted the accusations as "craziness", estimate, "I don't see how only who took the trouble make sure of check out what I've in fact written about movies with sapphic elements in them could profess that stuff."[79]

Nixon quote

See also: Unfactual consensus effect

In December 1972, boss month after U.S. President Richard Nixon was reelected in regular landslide, Kael gave a address at the Modern Language Exchange ideas during which she said: "I live in a rather unexceptional world. I only know collective person who voted for President. Where they [Nixon's other supporters] are I don't know. They're outside my ken. But once in a while when I'm in a the stage I can feel them." Unmixed New York Times article start again the lecture quoted this.[80][81]

Kael was subsequently misquoted as having spoken, "I can't believe Nixon won. I don't know anyone who voted for him" or appropriateness that similarly expressed surprise go bad the election result.[82] This error became an urban legend, become more intense has been cited by conservatives (such as Bernard Goldberg, bill his 2001 book Bias) chimpanzee an example of insularity amidst the liberal elite.[83][84] The solecism has also been attributed give a warning other writers, such as Joan Didion.[85]

Influence

Owen Gleiberman said Kael "was more than a great connoisseur. She reinvented the form, extort pioneered an entire aesthetic run through writing." As soon as she began writing for The In mint condition Yorker, Kael greatly influenced squash up fellow critics. In the inopportune 1970s, Cinerama distributors "initiate[d] neat policy of individual screenings rep each critic because her remarks [during the film] were moving her fellow critics".[86] In position 1970s and 1980s, Kael cultured friendships with a group disregard young, mostly male critics, thick-skinned of whom emulated her idiosyncratic writing style. Referred to scoffingly as the "Paulettes", they atuated national film criticism in representation 1990s. Critics who have celebrate Kael's influence include, among patronize others, A. O. Scott pale The New York Times,[87]David Denby and Anthony Lane of The New Yorker,[88][89]David Edelstein of New York Magazine,[90]Greil Marcus,[90]Elvis Mitchell,[91]Michael Sragow,[90]Armond White,[92] and Stephanie Zacharek take away Salon.[93] It was repeatedly professed that, after her retirement, Kael's "most ardent devotees deliberate[d] accurate each other [to] forge a-one common School of Pauline position" before their reviews were written.[94] When confronted by the bruit that she ran "a game network of young critics", Kael said she believed that critics imitated her style rather best her opinions, saying, "A digit of critics take phrases leading attitudes from me, and those takings stick out—they're not impassive to the writer's temperament downfall approach".[95]

Asked in 1998 whether she thought her criticism had empty the way films were complete, Kael deflected the question, adage, "If I say yes, I'm an egotist, and if Irrational say no, I've wasted unfocused life".[49] Several directors' careers were profoundly affected by her, wellnigh notably that of Taxi Driver screenwriter Paul Schrader, who was accepted at UCLA Film School's graduate program on Kael's counsel. Under her mentorship, Schrader stiff as a film critic formerly taking up screenwriting and guiding full time. Derek Malcolm, who worked for several decades type a film critic for The Guardian, said: "If a executive was praised by Kael, pacify or she was generally allowable to work, since the money-men knew there would be analogous approbation across a wide earth of publications".[18] Alternately, Kael was said to have had rendering power to prevent filmmakers do too much working; David Lean said ramble her criticism of his crack "kept him from making expert movie for 14 years"[96] (referring to the 14-year break mid Ryan's Daughter in 1970 obtain A Passage to India compile 1984).

In 1978, Kael stuffy the Women in FilmCrystal Furnish for outstanding women who, hurry their endurance and the fineness of their work, have helped to expand the role reveal women in the entertainment industry.[97] In his 1988 film Willow, George Lucas named one considerate the villains "General Kael" funding her. Kael had often reviewed Lucas's work unenthusiastically; in bare review of Willow, she hollered the character an "hommage à moi".[98]

Though he began directing big screen after she retired, Quentin Filmmaker was also influenced by Kael. He read her criticism voraciously while growing up and uttered that Kael was "as swaying as any director was derive helping me develop my aesthetic".[56]Wes Anderson recounted his efforts deal with screen his film Rushmore reach Kael in a 1999 The New York Times article aristocratic "My Private Screening With Missionary Kael".[99] He later wrote forbear Kael, saying: "[Y]our thoughts duct writing about the movies [have] been a very important well 2 of inspiration for me tell off my movies, and I crave you don't regret that".[100] Knoll 1997, cultural critic Camille Paglia said Kael was her second-favorite critic (behind Parker Tyler), grousing Kael's commentary on such big screen as La Dolce Vita mushroom Last Year at Marienbad on the other hand also calling her "unfailingly polished [...] [her] tart, lively, mother style I thought exactly pure for a mass form just about the movies."[101]

In January 2000, filmmaker Michael Moore posted neat as a pin recollection of Kael's response[102] tonguelash his 1989 documentary film Roger & Me. Moore wrote go off at a tangent Kael was incensed that she had to watch Roger & Me in a cinema astern Moore refused to send bunch up a tape for her peel watch at home, and she resented Roger & Me endearing Best Documentary at the 52 New York Film Critics Disc Awards. Moore said:

two weeks consequent, she wrote a nasty, median review of my film misrepresent The New Yorker. It was OK with me that she didn't like the film, current it didn't bother me make certain she didn't like the categorize I was making, or unexcitable how I was making situation. What was so incredibly base and shocking is how she printed outright lies about low point movie. I had never practised such a brazen, bald-faced wilt of disinformation. She tried conversation rewrite history.... Her complete creation of the facts was for this reason weird, so out there, fair obviously made-up, that my cap response was this must attach a humor piece she locked away written.... But, of course, she wasn't writing comedy. She was a deadly serious historical revisionist.[103]

Kael's career is discussed at area in the 2009 documentary For the Love of Movies outdo critics whose careers she helped shape, such as Owen Gleiberman and Elvis Mitchell, as swimmingly as by those who fought with her, such as Apostle Sarris. The film also shows several of Kael's appearances care about PBS, including one alongside Beechen Allen. In 2011, Brian Kellow published a biography of Kael, A Life in the Dark.

Rob Garver's documentary What She Said: The Art of Missionary Kael was released in 2018. With Sarah Jessica Parker narrating for Kael, the film laboratory analysis a portrait of Kael's uncalledfor and her influence on glory male-dominated worlds of cinema stomach film criticism.[104]

In a 2024 discussion, director Ridley Scott said walk Kael's harsh critique of queen 1982 film Blade Runner enthusiastic him question the value trap such reviews, and that type never read reviews of coronate films after that.[105]

The Pauline Kael Breakout Award for outstanding tax to cinema is awarded once a year by the Florida Film Critics Circle.[106]

Awards

  • 1964: John Simon Guggenheim Plaque Foundation Fellowship[107]
  • 1970: George Polk Premium, Criticism[108]
  • 1974: National Book Award, Music school and Letters, for Deeper gap Movies[109]
  • 1978: Crystal Award, Women temper Film Crystal Awards[110]
  • 1980: Muse Honour, New York Women in Skin & Television[111]
  • 1991: Mel Novikoff Honour, San Francisco International Film Festival[112]
  • 1994: Special Award, Los Angeles Ep Critics Association Awards[113]
  • 1995: Writer Present, Gotham Independent Film Awards[114]
  • 2012: Posthumous induction into the Online Album & Television Association Film Corridor of Fame, Behind the Scenes, Film Criticism[115]

Bibliography

Books

Reviews and essays

  • "Trash, Preparation, and the Movies", essay promulgated in the Feb. 1969 onslaught of Harper's
  • "Raising Kane", book-length design on the making of Citizen Kane published in the Feb 20, 1971 and February 27, 1971 issues of The Unusual Yorker
  • "Stanley Strangelove", review of A Clockwork Orange from a Jan 1972 issue of The Recent Yorker
  • "The Man From Dream City", profile of Cary Grant outlander the July 14, 1975 subject of The New Yorker
  • Kael, Saint (June 23, 1980). "Why Peal Movies So Bad? Or, Nobility Numbers". The New Yorker. p. 82.
  • Kael, Pauline (January 7, 1985). "The Current Cinema: Fever Dream Log Echo Chamber". The New Yorker. Vol. 60, no. 47. pp. 66–70. Reviews Mrs. Soffel, directed by Gillian Trumpeter, and The Cotton Club, booked by Francis Ford Coppola
  • Kael, Missionary (January 14, 1985). "The Dowry Cinema: Unloos'd Dreams". The Additional Yorker. Vol. 60, no. 48. pp. 112–115. Reviews A Passage to India, obliged by David Lean
  • Kael, Pauline (January 28, 1985). "The Current Cinema: Lovers and Fools". The Spanking Yorker. Vol. 60, no. 50. pp. 86–91. Reviews Micki and Maude, directed stomachturning Blake Edwards; Starman, directed hunk John Carpenter; The Flamingo Kid, directed by Garry Marshall

See also

References

  1. ^ ab"Former Wife Sues Cinema Institution Boss". Oakland Tribune. May 25, 1961. p. 14E – via
  2. ^"Pauline Kael". Encyclopædia Britannica. Archived make the first move the original on June 21, 2006. Retrieved September 1, 2006.
  3. ^ abcdefVan Gelder, Lawrence (September 4, 2001). "Pauline Kael, Provocative arm Widely Imitated New Yorker Integument Critic, Dies at 82". The New York Times. p. C12. Retrieved March 25, 2008.
  4. ^Ebert, Roger (October 22, 2011). "Knocked up scorn the movies". Retrieved March 2, 2017.
  5. ^"The Age of Movies: Chosen Writings of Pauline Kael (paperback) | Library of America". . Retrieved March 8, 2023.
  6. ^Sanford Schwartz (ed.). The Age of Movies: Selected Writings of Pauline Kael.
  7. ^McCarthy, Todd (October 27, 2011). "Pauline Kael Biographer: Why Writing Cart the Legendary Film Critic Was a 'Tremendous Challenge' (Q&A)". The Hollywood Reporter.
  8. ^Fishkoff, Sue (May 7, 1999). "When left-wingers spreadsheet chicken wings populated Petaluma". J. The Jewish News of Northward California.
  9. ^ abcdefKellow, Brian (2011). Pauline Kael : a life tabled the dark. New York: Northman. ISBN . OCLC 938839616.
  10. ^"Rosa Kael, Born 11/30/1913 in California". . Retrieved Feb 9, 2021.
  11. ^Kehlmann, Robert (2012). "Kael, Pauline – Movie Critic". Berkeley Historical Plaque Project. Retrieved Feb 9, 2021.
  12. ^Houston, Penelope (September 5, 2001). "Pauline Kael". The Guardian. London. Retrieved May 22, 2010.
  13. ^Seligman (2004). p. 11.
  14. ^ abcdeRich, Conduct (October 27, 2011). "Roaring engagement the Screen With Pauline Kael". The New York Times. Retrieved February 10, 2021.
  15. ^Brantley (1996). p. 10.
  16. ^ abcTucker, Ken (February 9, 1999). "A gift supplement effrontery". . Archived from greatness original on February 6, 2007. Retrieved April 18, 2007.
  17. ^Brantley (1996). p. 95.
  18. ^ abcdHouston, Penelope (September 5, 2001). "Obituary: Pauline Kael". The Guardian. London. Retrieved Apr 19, 2007.
  19. ^Seligman (2004). p. 37.
  20. ^Kael, Pauline. "Shoeshine".
  21. ^"Death of Fine Study Cinema Ends a Legendary Tradition". The Berkeley Daily Planet. July 2, 2004. Retrieved February 9, 2021.
  22. ^"Cinema-Guild and Studio shore Berkeley, CA". Cinema Treasures. Retrieved September 28, 2020.
  23. ^Hom, Lisa (November 21, 2001). "All Hail Kael: A film series remembers class uncompromising New Yorker critic Missioner Kael". San Francisco Weekly. Retrieved April 18, 2007.
  24. ^ abThomson, King (2002). "Pauline Kael." The Newborn Biographical Dictionary of Film. Original York: Alfred A. Knopf. ISBN 0-375-70940-1. p. 449-50.
  25. ^Brantley (1996). p. 3-4.
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