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17 de mar. de 2010 · In the late sixties, Pauline Kael’s exhilarating review of “Bonnie and Clyde” burst upon the scene, announcing a revolution in cinematic taste. Arthur Penn’s 1967 film, ...
30 de ago. de 2019 · A pent-up licentiousness is palpable in her prose, as if cinema is her great aphrodisiac. Kael’s essay “Movies, The Desperate Art” begins: “The film critic in the United States is in a curious position: the greater his interest in the film medium, the more enraged and negative he is likely to sound . . . A few writers, and not Americans ...
11 de may. de 2017 · May 11, 2017. The director-hero of 8½ is the center of the film universe, the creator on whose word everything waits, the man sought after by everyone, the one for whom all possibilities are open. by Pauline Kael. Some years ago a handsome, narcissistic actor who was entertaining me with stories about his love affairs with various ladies and ...
5 de ene. de 2017 · Pauline Kael’s infamous review of '2001: A Space Odyssey', where she referred to the movie as “trash masquerading as art” and “monumentally unimaginative.”. by Pauline Kael. The new tribalism in the age of the media is not necessarily the enemy of commercialism; it is a direct outgrowth of commercialism and its ally, perhaps even its ...
30 de jun. de 2017 · June 30, 2017. Pauline Kael reviews "Planet of the Apes", a 1968 science fiction film directed by Franklin J. Schaffner. Published in 'The New Yorker', February 17,1968. by Pauline Kael. Planet of the Apes is a very entertaining movie, and you’d better go see it quickly, before your friends take the edge off it by telling you all about it.
28 de dic. de 2016 · Baby, the Rain Must Fall. by Pauline Kael. Ridley Scott, the director of the futuristic thriller Blade Runner, sets up the action with a crawl announcing that the time is early in the twenty-first century, and that a blade runner is a police officer who “retires’’—i.e., kills—”replicants,” the powerful humanoids manufactured by genetic engineers, if they rebel against their ...
16 de sept. de 2017 · In her iconic review of Bernardo Bertolucci’s Last Tango in Paris, Pauline Kael heralds the film’s premiere as a pivotal moment in cinematic history, paralleling its impact to the premiere of “Le Sacre du Printemps” in the music world.She celebrates the film for breaking through the norms of mechanized, passionless cinematic sexuality by presenting a raw, emotionally charged sexual ...
