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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 ...
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 · Out There and in Here. by Pauline Kael “Maybe I’m sick, but I want to see that again.” —Overheard after a showing of Blue Velvet.. When you come out of the theatre after seeing David Lynch’s Blue Velvet, you certainly know that you’ve seen something.You wouldn’t mistake frames from Blue Velvet for frames from any other movie. It’s an anomaly—the work of a genius naïf.
Pauline Kael (19 de junio de 1919 - 3 de septiembre de 2001) fue una crítica de cine estadounidense, que escribió para la revista The New Yorker entre 1968 y 1991. Era conocida por sus reseñas "ingeniosas, mordaces, muy obstinadas y fuertemente enfocadas"; [1] sus opiniones a menudo eran contrarias a las de sus contemporáneos. Fue una de las críticas de cine más influyentes de su época.
7 de jul. de 2017 · by Pauline Kael. When Shoeshine opened in 1947, I went to see it alone after one of those terrible lovers’ quarrels that leave one in a state of incomprehensible despair. I came out of the theater, tears streaming, and overheard the petulant voice of a college girl complaining to her boyfriend, “Well I don’t see what was so special about that movie.”
24 de ene. de 2021 · A Wounded Apparition. by Pauline Kael. Some movies—Grand Illusion and Shoeshine come to mind, and the two Godfathers and The Chant of Jimmie Blacksmith and The Night of the Shooting Stars—can affect us in more direct, emotional ways than simple entertainment movies.They have more imagination, more poetry, more intensity than the usual fare; they have large themes, and a vision.
11 de ene. de 2018 · by Pauline Kael. Martin Scorsese’s Mean Streets is a true original of our period, a triumph of personal filmmaking. It has its own hallucinatory look; the characters live in the darkness of bars, with lighting and color just this side of lurid. It has its own unsettling, episodic rhythm and a high-charged emotional range that is dizzyingly ...
