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Pauline Kael, never a fan, wrote cruelly if not inaccurately after Sophie’s Choice (82) that she acted only from the neck up, that by focusing everything on an accent or a toss of the head, she in effect decorporealized herself. In the first place, that’s not entirely true, certainly not lately. As Miranda she’s at one with her body.
18 de feb. de 2010 · In one of the few skeptical assessments of this elusive quality, Pauline Kael, reviewing “Sophie’s Choice,” suggested that Ms. Streep was too controlling, too calculated, to create ...
18 de ago. de 2020 · En 1982, Pauline Kael, la heterodoxa crítica cinematográfica de The New Yorker, escribió sobre su actuación en La decisión de Sophie: “Como de costumbre, ha dedicado mucha reflexión y mucho esfuerzo a su trabajo.
In 1982, at the early crest of Meryl Streep’s reputation, the celebrated critic Pauline Kael, ever a maverick, wrote the following analysis: “Something about her puzzles me: after I’ve seen her in a movie, I can’t visualize her from the neck down. . . .
17 de mar. de 1991 · The New Yorker critic Pauline Kael, who described Ms. Streep's performance in "Postcards From the Edge" as that of "an android," was chief among her detractors, issuing incantations like:...
2 de dic. de 2011 · “She has, as usual, put thought and effort into her work,” wrote New Yorker critic Pauline Kael in her review of “Sophie’s Choice.” “It could be said that in her zeal to be an honest ...
14 de oct. de 2011 · October 14, 2011. In this week’s issue, I write about Pauline Kael, who was a New Yorker film critic from 1968 to 1991, and whose reviewing helped establish several movies of the late sixties...
