Sex is the great leveler; taste the great divider. I have premonitions of the beginning of the end when a man who seems charming or at least remotely possible starts talking about movies. When he says, “I saw a great picture a couple of years ago—I wonder what you thought of it?” I start looking for the nearest exit. His great picture generally turns out to be He Who Must Die or something else that I detested—frequently a socially conscious problem picture of the Stanley Kramer variety. Boobs on the make always try to impress with their high level of seriousness (wise guys, with their contempt for all seriousness). dit ook precies is wat Anger met zijn meest recente film Missoni (2011) duidelijk wil maken. Het is een soort reclamefilm in opdracht voor She is resolutely middlebrow in her taste, with a very light leaning toward the postmodern. While she hates big Hollywood productions like The Sound of Music, she appreciates Antonioni's L'Avventura and Godard's Breathless.

Ik heb in mijn essay over Nine½ Weeks geclaimd dat die film één grote ode is aan de geneugten van het MLA style: "Pauline Kael: I lost it at the movies.." The Free Library. 1993 Artforum International Magazine, Inc. 27 Nov. 2023 https://www.thefreelibrary.com/Pauline+Kael%3a+I+lost+it+at+the+movies.-a014580121 On "A View from the Bridge" : "Arthur Miller's intention is to create tragedy; but what we see is a man behaving so insanely that we keep wondering why he wasn't put away." Sex is the great leveler, taste the great divider. I have premonitions of the beginning of the end when a man who seems charming or at least remotely possible starts talking about movies. When he says, "I saw a great picture a couple of years ago--I wonder what you thought of it?" I start looking for the nearest exit. His great picture generally turns out to be He Who Must Die or something else that I detested--frequently a socially conscious problem picture of the Stanley Kramer variety. Boobs on the make always try to impress with their high level of seriousness (wise guys, with their contempt for all seriousness).or even extraordinary, but at the very least they are all very good movies. But then of course, what kleurfilters, lijkt ‘Magic Mike’ misschien nog het meest op een Andrew Christian video, filmpjes die altijd op de rand van gay porno zitten On "Breakfast at Tiffany's" : "Patricia Neal is amusing in a rather impenetrable role -- she seems to be a playing a lesbian and she's also keeping George Peppard. I don't think it's wise to let the mind linger too long over that." Chicago style: The Free Library. S.v. Pauline Kael: I lost it at the movies.." Retrieved Nov 27 2023 from https://www.thefreelibrary.com/Pauline+Kael%3a+I+lost+it+at+the+movies.-a014580121 When an interviewer asked her in later years as to what she had "lost", as indicated in the title, Kael averred, "There are so many kinds of innocence to be lost at the movies." [1] It is the first of Kael's books titled with deliberately erotic connotations, typifying the sensual relation Kael perceived herself as having with the movies, as opposed to the theoretical bent that some among her colleagues had.

The book actually does not contain the full range of Kael's writings published in magazines from this period. From 1962–64, Kael had written for a short-lived section of Film Quarterly entitled Films of the Quarter, alongside other critics such as Stanley Kauffmann and the screenwriter Gavin Lambert. Some, but not all, of these writings are included in this book. Then the bugaboo, The Auteur Theory : This you must read, for The Kael is a Killer here. "What is all this nonsense about?" she asks most sensibly, noting that any film involves a team and Golden Age directors were simply assigned films. With deadly accuracy, she demolishes auteurism. Still though, reading Kael is engaging and inspires actual thought, and I look forward to re-reading my way through her collected writings. In this, her first collected volume, The Kaeler is at her best and most fresh. I may disagree with her, but there's never been a film critic with her quirky mind coupled with her stylish writing. Paying her money like anybody else, Kael left the theater transformed or cheated. ("Robbe-Grillet...may say that...the existence of the two characters begins when the film begins and ends ninety-three minutes later, but, of course, we are not born when we go in to see a movie--though we may want to die by the time we leave.") Kael made prissy writers like Sarris uncomfortable because she demanded more from movies, from life, than they did. It was easy to find yourself in Kael's essays; it was harder to get out of them. As with West Side Story:She spends as much time reviewing the other film reviewers such as Bosley Crowther, Stanley Kauffmann, and Dwight MacDonald as she does reviewing the films. I never cared much for that crew anyway, so nothing is gained by setting them up as straw men. Is There a Cure for Film Criticism? Or, Some Unhappy Thoughts on Siegfried Kracauer's Theory of Film: The Redemption of Physical Reality What I like especially about Miss Kael's book is that it is written from the outside. The trouble with most film criticism today is that it isn't criticism. It is, rather, appreciation, celebration, information, and it is written by intellectuals who have come to be "insiders" in the sense that they are able to discourse learnedly about almost any movie without thinking much about whether it's any good - the very question must strike them as a little naive, and irrelevant - because they see it as a greater, or lesser, manifestation of the mystery, the godhead of Cinema. This is a book that meant a great deal to me when I was in college and looking forward to a career as a professor of film history and criticism. (It never happened, but that is a long story.)

Despite having some extremely different views to Pauline Kael (mainly in her disillusionment with auteur theory, her outright rejection of many arthouse/experimental films that lean towards surrealism and certainly politically), it amazes me that I still consider her one of the greatest critics of all time. She challenges my whole perception of a masterpiece. There are works that I would consider flawless that she will find flaws in and the oddest thing is I don't necessarily disagree with the point she makes. Paying her money like anybody else, Kael left the theater transformed or cheated. (“Robbe-Grillet . . . may say that . . . the existence of the two characters begins when the film begins and ends ninety-three minutes later, but, of course, we are not born when we go in to see a movie though we may want to die by the time we leave.”) Kael made prissy writers like Sarris uncomfortable because she demanded more from movies, from life, than they did. It was easy to find yourself in Kael’s essays; it was harder to get out of them. As with West Side Story:In the course of the intervening years, I have disagreed on several major issues with Miss Kael, but I still regard her as having made a major contribution to film criticism in America -- not to mention my taste in films. (I still do not regard Alain Resnais as a great or even good director.) Where I disagree with her is on the following points. the late, great Pauline Kael. This is a collection of her early, pre-New Yorker, writings about film. I have always been a Pauline Kael fan. I love the way she writes about movies -- even when I don't agree with her, or have no idea what she's talking about, it makes me excited about film and I find myself wanting to watch Last Year at Marienbad again (which normally is the kind of idea that should make you say OH FOR HEAVEN'S SAKE, NO.) just to see particular things she is talking about. All of that said, in many ways the woman was a raving lunatic, and that also comes through. I'm torn over whether or not to include some specific examples of her kookiness, mostly involving homosexuality but some real gems on race as well, because I worry that the fun of pointing and laughing at the crazy lady (and to be fair, some of it no doubt seemed less demented in the late 1950s/early 1960s) would overshadow her truly perceptive exploration of the movies and American culture. A more adverse reaction comes from the auteurist Andrew Sarris, mainly as a result of the essay '" Circles and Squares", which was originally published in Film Quarterly. Sarris's reaction was in response to Kael's denunciation of the Auteur theory's merits, and has, in later years, occasionally jabbed at Kael's work. Examples of his critical observations are available in his books, e.g., The Primal Screen and Politics and Cinema. With the exception of "Circles and Squares", Kael has rarely responded. Notwithstanding Kael's unresponsive silence, this has gone down in film lore as the Sarris-Kael feud. The first Kael -- Light Kael -- writes these incredibly nuanced, incredibly humane essays that do what criticism is supposed to do: they show you something about a work of art you could not see yourself. For instance, she's able to take an art house film that I didn't fully understand (e.g. Jules and Jim) and show me exactly what made it worthwhile; or take a movie that I had reservations about (e.g. 8 1/2) and put words to what I couldn't, pinpointing precisely why the movie rings hollow. She just cares about art so much, and that shines in every sentence Light Kael writes. In reference to the title of the book, the critic Jonathan Rosenbaum wrote an article entitled "I Missed It at the Movies: Objections to Raising Kane" as a rebuttal to Kael's essay on Citizen Kane, which had been entitled " Raising Kane".

of a Psycho” is far from a waste of time, what makes this new drive-in double feature from Vinegar Syndrome truly te zijn en ‘Fatal Attraction’ de clichématige. 'Ladder' is een film die mensen direct interessant en goed vinden, omdat seksueel actieve vrouw die daarmee haar toegewezen plaats verlaat, de status quo bedreigt en om die reden

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On "West Side Story" : Boobs and wiseguys, she asserts, try to impress with their seriousness. When the always boring Stanley Kauffmann calls it the best musicom ever made, The Kael snorts. The best are those which celebrate high spirits, giddy romance and light satire like "Singin' in the Rain," she counters. APA style: Pauline Kael: I lost it at the movies.. (n.d.) >The Free Library. (2014). Retrieved Nov 27 2023 from https://www.thefreelibrary.com/Pauline+Kael%3a+I+lost+it+at+the+movies.-a014580121