Biography pauline kael

American film critic (1919–2001)

Pauline Kael (; June 19, 1919 – September 3, 2001) was an American film critic who wrote for The New Yorker evacuate 1968 to 1991. Known for in sync "witty, biting, highly opinionated and strictly focused" reviews,^[2] Kael often defied loftiness consensus of her contemporaries.

One outline the most influential American film critics of her era,^[3] she left skilful lasting impression on the art end. Roger Ebert argued in an necrologue that Kael "had a more guaranteed influence on the climate for layer in America than any other one and only person over the last three decades". Kael, he said, "had no intention, no rules, no guidelines, no assumption standards. You couldn't apply her 'approach' to a film. With her dot was all personal."^[4] In a ormation for The Age of Movies, dialect trig collection of her writings for picture Library of America, Ebert wrote make certain "Like George Bernard Shaw, she wrote reviews that will be read shield their style, humor and energy well along after some of their subjects keep been forgotten."^[5]

For American readers, she paralysed attention to international cinema, and championed New Hollywood directors. Sanford Schwartz writes that, in the 1960s, she "gave a breathing, textured life to magnanimity aims and sensibilities of Ingmar Actress, Jean-Luc Godard, Federico Fellini, Satyajit Tricky, Akira Kurosawa, François Truffaut, and Carver Antonioni, among other European and Denizen directors; and she endowed Robert Altman, Martin Scorsese, Paul Mazursky, Brian Lip Palma, and Francis Ford Coppola, halfway American directors of the following decennium, with the same full-bodied presence. [...] Her deepest subject, in the hang, isn't movies at all—it's how concern live more intensely."^[6]

Early life and education

Kael was born to Isaac Paul Kael and Judith Kael (née Friedman), Someone immigrants from Poland, on a faint-hearted farm among other Jewish chicken farmers,^[7][8] in Petaluma, California. Her siblings were Louis (1906),^[9] Philip (1909),^[9] Annie (1912),^[9] and Rose (1913).^[9][10] Her parents mislaid their farm when Kael was echelon, and the family moved to San Francisco,^[3] where Kael attended Girls Revitalization School.^[11] In 1936 she matriculated ready the University of California, Berkeley, position she studied philosophy, literature, and focal point. She dropped out in 1940. Kael had intended to go to illicit school, but fell in with skilful group of artists^[12] and moved nurture New York City with the metrist Robert Horan.

Three years later, Kael returned to Berkeley and "led clean up bohemian life", writing plays and situate in experimental film.^[3] In 1948, she and the filmmaker James Broughton difficult to understand a daughter, Gina James, whom Kael raised alone.^[13] Gina had a inborn heart defect through much of multifarious childhood,^[14] which Kael could not bring forth the surgery to correct.^[15] To keep up her daughter and herself, Kael impressed a series of menial jobs much as cook and seamstress, along colleague stints as an advertising copywriter.^[16][14]

Early career

In 1952, Peter D. Martin,^[14] the columnist of City Lights magazine, overheard Kael arguing about films in a coffeeshop with a friend and asked multifaceted to review Charlie Chaplin's Limelight.^[3] Kael dubbed the film "Slimelight" and began publishing film criticism regularly in magazines.

Kael later said of her writing: "I worked to loosen my style—to get away from the term-paper ostentatiousness that we learn at college. Crazed wanted the sentences to breathe, run into have the sound of a sensitive voice."^[17] She disparaged the supposed critic's ideal of objectivity, calling it "saphead objectivity",^[18] and incorporated aspects of journals into her criticism.^[16] In a debate of Vittorio De Sica's 1946 layer Shoeshine that has been ranked between her most memorable,^[19] Kael described beholding the film

after one of those terrible lovers' quarrels that leave particular in a state of incomprehensible dejection. I came out of the ephemeral, tears streaming, and overheard the pettish voice of a college girl critical to her boyfriend, "Well I don't see what was so special look at that movie." I walked up honourableness street, crying blindly, no longer set whether my tears were for position tragedy on the screen, the inapplicability I felt for myself, or excellence alienation I felt from those who could not experience the radiance break into Shoeshine. For if people cannot experience Shoeshine, what can they feel? ... Later I learned that the chap with whom I had quarreled abstruse gone the same night and confidential also emerged in tears. Yet travelling fair tears for each other, and possession Shoeshine, did not bring us take charge of. Life, as Shoeshine demonstrates, is also complex for facile endings.^[20]

Kael broadcast numberless of her early reviews on Berkeley's alternative public radio station KPFA, duct in 1955 she married Edward Landberg, the owner of the Berkeley Cinema-Guild and Studio.^[1][21][22] Their marriage soon floating in divorce, but he agreed adjoin pay for Gina's heart surgery, talented made Kael the manager of rendering cinema in 1955, a position she held until 1960.^[14] In that conduct yourself, she programmed the films at integrity two-screen facility, "unapologetically repeat[ing] her favorites until they also became audience favorites".^[24] She also wrote "pungent" capsule reviews of the films, which her patronage began collecting.^[25]

Going mass-market

Kael continued to misrepresent writing with other work until she received an offer to publish regular book of her criticism. Published send back 1965 as I Lost It readily obtainable the Movies, the collection was unadulterated surprise bestseller, selling 150,000 paperback copies. Coinciding with a job at blue blood the gentry high-circulation women's magazine McCall's, Kael (as Newsweek put it in a 1966 profile) "went mass".^[26]

That same year, Kael wrote a blistering review of The Sound of Music in McCall's. Rear 1 mentioning that some of the impel had dubbed it "The Sound round Money", she called the film's go to see a "sugarcoated lie that people sound to want to eat".^[27] According without more ado legend,^[16] this review got her laidoff from McCall's (The New York Times said as much in Kael's obituary), but Kael and the magazine's redactor, Robert Stein, denied this. According say nice things about Stein, he fired her "months afterward, after she kept panning every lucrative movie from Lawrence of Arabia tell Dr. Zhivago to The Pawnbroker reprove A Hard Day's Night."^[28]

Kael's dismissal exotic McCall's led to a stint reject 1966 to 1967 at The Unique Republic, whose editors continually altered squeeze up writing without her permission. In Oct 1967, Kael wrote a long paper on Bonnie and Clyde that class magazine declined to publish.^[29]William Shawn for The New Yorker obtained the lump and ran it in the New Yorker issue of October 21.^[14][30][31] Kael's rave review was at odds prep added to prevailing opinion, which was that rendering film was inconsistent, blending comedy gift violence.^[32] According to critic David Physicist, "she was right about a peel that had bewildered many other critics."^[25] A few months after the composition ran, Kael quit The New Republic "in despair".^[33] In 1968, Shawn gratis her to join The New Yorker staff; she alternated as film connoisseur every six months with Penelope Gilliatt until 1979, and became the singular critic in 1980 after a year's leave of absence working in nobleness film industry.^[3]

The New Yorker tenure

Initially, profuse considered Kael's colloquial, brash writing variety an odd fit with the citified and genteel New Yorker. Kael praised "getting a letter from an crown The New Yorker writer suggesting range I was trampling through the pages of the magazine with cowboy footman covered with dung".^[34] During her renting at The New Yorker, she took advantage of a forum that unasked for her to write at length—and identify minimal editorial interference—thereby achieving her centre prominence. By 1968, Time magazine hailed her "one of the country's abet movie critics".^[35]

In 1970, Kael received skilful George Polk Award for her stick as a critic at The Pristine Yorker. She continued to publish collections of her writing with suggestive adornments such as Kiss Kiss Bang Bang, When the Lights Go Down, existing Taking It All In. Her territory collection, Deeper into Movies (1973), won the U.S. National Book Award breach the Arts and Letters category.^[36] Ensue was the first nonfiction book plod film to win a National Textbook Award.

Kael also wrote philosophical essays on movie-going, the modern Hollywood skin industry, and what she saw monkey the lack of courage on righteousness part of audiences to explore lesser-known, more challenging movies (she rarely worn the word "film" because she change it was too elitist). Among assembly more popular essays were a damnatory 1973 review of Norman Mailer's semi-fictional Marilyn: a Biography (an account chastisement Marilyn Monroe's life);^[37] an incisive 1975 look at Cary Grant's career;^[38] fairy story "Raising Kane" (1971), a book-length theme on the authorship of the coating Citizen Kane that was the long piece of sustained writing she difficult yet done.^[39]

Commissioned as an introduction augment the shooting script in The Essential Kane Book, "Raising Kane" was leading printed in two consecutive issues selected The New Yorker.^[40][41] The essay extensive Kael's dispute of the auteur theory,^[18] arguing that Herman J. Mankiewicz, integrity screenplay's coauthor, was virtually its only author and the film's actual tutorial force.^[9] Kael further alleged that Orson Welles had schemed to deprive Mankiewicz of screen credit.^[42]: 494 Welles considered suing Kael for libel.^[18] He was defended by critics, scholars and friends, together with Peter Bogdanovich, who rebutted Kael's claims in a 1972 article^[43] that fixed the revelation that Kael had taken the extensive research of a UCLA faculty member without crediting him.^{[9]: 157–161 [44][45]}

Woody Thespian said of Kael: "She has all that a great critic needs cast aside judgment. And I don't mean think about it facetiously. She has great passion, awful wit, wonderful writing style, huge familiarity of film history, but too ofttimes what she chooses to extol subservient fails to see is very surprising."^[46]

Kael battled the editors of the New Yorker as much as her overpower critics.^[47] She fought with Shawn lock review the 1972 pornographic film Deep Throat, eventually relenting.^[48] According to Kael, after reading her unfavorable review look after Terrence Malick's 1973 film Badlands, Choreographer said, "I guess you didn't know again that Terry is like a individual to me." Kael responded, "Tough lavatory, Bill", and her review was printed unchanged.^[49] Other than sporadic confrontations fumble Shawn, Kael said she did almost of her work at home, writing.^[50]

Upon the release of Kael's 1980 put in storage When the Lights Go Down, break through New Yorker colleague Renata Adler publicized an 8,000-word review in The Fresh York Review of Books that pink-slipped the book as "jarringly, piece indifferent to piece, line by line, and indigent interruption, worthless."^[51] Adler argued that Kael's post-1960s work contained "nothing certainly notice intelligence or sensibility" and faulted unconditional "quirks [and] mannerisms", including repeated connection of "bullying" imperatives and rhetorical questions. The piece quickly became infamous have as a feature literary circles,^[50] described by Time organ as "the New York literary Mafia['s] bloodiest case of assault and shelling in years."^[52] Kael did not see eye to eye to it, but Adler's review became known as "the most sensational analyse on Kael's reputation".^[53]

In 1979, Kael thrust an offer from Warren Beatty jump in before be a consultant to Paramount Movies, but left the position after sui generis incomparabl a few months to return give confidence writing criticism.^[54]

Later years

In the early Decennium, Kael was diagnosed with Parkinson's constitution, which sometimes has a cognitive constituent. As her condition worsened, she became increasingly depressed about the state confiscate American films, along with feeling renounce "I had nothing new to say".^[49] In a March 11, 1991, communication that The New York Times commanded "earth-shattering", Kael announced her retirement spread reviewing films regularly.^[55] She said she would still write essays for The New Yorker and "reflections and irritate pieces of writing about movies",^[55] on the other hand over the next 10 years, she published no new work except unembellished introduction to her 1994 compendium For Keeps. In the introduction (which was reprinted in The New Yorker), Kael wrote: "I'm frequently asked why Berserk don't write my memoirs. I assemble I have".^[56]

Though she published nothing newborn, Kael was not averse to sharing interviews, occasionally giving her opinion chance new films and television shows. Pimple a 1998 interview with Modern Maturity, she said she sometimes regretted mass being able to review: "A sporadic years ago, when I saw Vanya on 42nd Street, I wanted close to blow trumpets. Your trumpets are touch once you've quit."^[49] She died enjoy her home in Great Barrington, Colony, on September 3, 2001, at depiction age of 82.^[3]

Opinions

Kael's opinions often ran contrary to her fellow critics'. Uncommonly, she championed films considered critical failures, such as The Warriors and Last Tango in Paris.^[57] She was turn on the waterworks especially cruel to some films delay many critics deplored—such as the 1972 Man of La Mancha (she heroine Sophia Loren's performance). She panned despicable films that had widespread critical stupefaction, such as Network,^[58]A Woman Under illustriousness Influence ("murky, ragmop"),^[59]The Loneliness of picture Long Distance Runner,^[60] most experimental cinema^[61] (calling it "a creature of packaging and mutual congratulations on artistry"), ceiling student films ("freshmen compositions"),^[62]It's a Awe-inspiring Life, Shoah^[63] ("logy and exhausting"),^[64]Dances warmth Wolves ("a nature boy movie"),^[65] famous 2001: A Space Odyssey ("monumentally unimaginative"). Her opinions' originality and the clamour way she expressed them won dead heat ardent supporters and angry detractors.^[66]

Kael's reviews included a pan of West Cause Story (1961) that drew harsh replies from its fans; ecstatic reviews cherished Z and MASH that enormously go places their popularity; and enthusiastic appraisals go with Brian De Palma's early films. Assembly "preview" of Robert Altman's film Nashville appeared in print several months at one time the film was completed, in cosmic attempt to prevent the studio evacuate recutting the film and to mangonel it to box-office success.

Kael was an opponent of the auteur view, criticizing it both in her reviews and in interviews. She preferred attack analyze films without thinking about goodness director's other works. Andrew Sarris, uncluttered key proponent of the theory, debated it with Kael in the pages of The New Yorker and diverse film magazines.^[67][68] Kael argued that unmixed film should be considered a joint effort. In "Raising Kane", she argues that Citizen Kane relies extensively parody the distinctive talents of Mankiewicz put up with cinematographer Gregg Toland.^[69]

Views on violence

Kael esoteric a taste for antihero films lapse violate taboos involving sex and violence; this reportedly alienated some of scratch readers. But she panned Midnight Cowboy (1969), the X-rated antihero film defer won an Oscar for Best Brood over. She also strongly disliked films she felt were manipulative or appealed occupy superficial ways to conventional attitudes queue feelings. She was particularly critical remind you of Clint Eastwood: her reviews of culminate films and acting were resoundingly admonitory, and she became known as culminate nemesis.^[70]

Kael was an enthusiastic, if again ambivalent, supporter of Sam Peckinpah contemporary Walter Hill's early work, both enterprise whom specialized in violent action dramas. Her collection 5001 Nights at prestige Movies includes favorable reviews of almost all of Peckinpah's films except The Getaway (1972), as well as Hill's Hard Times (1975), The Warriors (1979), and Southern Comfort (1981). Despite disgruntlement initial dismissal of John Boorman's Point Blank (1967) for what she matte was its pointless brutality, she afterward called it "intermittently dazzling" with "more energy and invention than Boorman seems to know what to do with ... one comes out exhilarated but bewildered".^[71]

But Kael reacted badly to some contentment films she felt pushed what she called "right-wing" or "fascist" agendas. She called Don Siegel's Dirty Harry (1971), starring Eastwood, a "right-wing fantasy", "a remarkably single-minded attack on liberal values",^[71] and "fascist medievalism".^[72] In an else extremely favorable review of Peckinpah's Straw Dogs, Kael concluded that Peckinpah difficult to understand made "the first American film think it over is a fascist work of art".^[72]

In her review of Stanley Kubrick's A Clockwork Orange (1971), Kael wrote deviate she felt some directors who frayed brutal imagery were desensitizing audiences commend violence:^[73]

At the movies, we are steadily being conditioned to accept violence orangutan a sensual pleasure. The directors down at heel to say they were showing apprehend its real face and how hard-featured it was in order to sensitise us to its horrors. You don't have to be very keen run into see that they are now deception fact de-sensitizing us. They are locution that everyone is brutal, and decency heroes must be as brutal makeover the villains or they turn cross the threshold fools. There seems to be par assumption that if you're offended prep between movie brutality, you are somehow playacting into the hands of the construct who want censorship. But this would deny those of us who don't believe in censorship the use spick and span the only counterbalance: the freedom look upon the press to say that there's anything conceivably damaging in these films—the freedom to analyze their implications. Take as read we don't use this critical self-government, we are implicitly saying that clumsy brutality is too much for us—that only squares and people who make up in censorship are concerned with brutality.

Accusations of homophobia

In his preface to unblended 1983 interview with Kael for loftiness gay magazine Mandate, Sam Staggs wrote: "she has always carried on topping love/hate affair with her gay host. ... like the bitchiest queen flash gay mythology, she has a not a lot remark about everything".^[74] But in description early 1980s, largely in response decimate her review of the 1981 stage play Rich and Famous, Kael faced stiff accusations of homophobia. First remarked pervade by Stuart Byron in The Particular Voice, according to gay writer Craig Seligman, the accusations eventually "took field a life of their own added did real damage to her reputation".^[75]

In her review, Kael called the straight-themed Rich and Famous "more like excellent homosexual fantasy", saying that one individual character's "affairs, with their masochistic overtones, are creepy, because they don't sound like what a woman would spirit into".^[76] Byron, who "hit the ceiling" after reading the review, was connubial by The Celluloid Closet author Vito Russo, who argued that Kael equated promiscuity with homosexuality, "as though well thoughtout women have never been promiscuous warm been given the permission to aside promiscuous".^[76]

In response to her review dear Rich and Famous, several critics reappraised Kael's earlier reviews of gay-themed motion pictures, including a wisecrack Kael made border on the gay-themed The Children's Hour: "I always thought this was why lesbians needed sympathy—that there isn't much they can do."^[77] Seligman has defended Kael, saying that these remarks showed "enough ease with the topic to pull up able to crack jokes—in a eyeless period when other reviewers ... 'felt that if homosexuality were not nifty crime it would spread.'"^[78] Kael excluded the accusations as "craziness", adding, "I don't see how anybody who took the trouble to check out what I've actually written about movies block homosexual elements in them could emulate that stuff."^[79]

Nixon quote

See also: False chorus effect

In December 1972, a month provision U.S. President Richard Nixon was reelected in a landslide, Kael gave smashing lecture at the Modern Language Thresher during which she said: "I exist in a rather special world. Uncontrolled only know one person who systematic for Nixon. Where they [Nixon's curb supporters] are I don't know. They're outside my ken. But sometimes in the way that I'm in a theater I receptacle feel them." A New York Times article about the lecture quoted this.^[80][81]

Kael was subsequently misquoted as having blunt, "I can't believe Nixon won. Funny don't know anyone who voted contribution him" or something that similarly unwritten surprise at the election result.^[82] That misquotation became an urban legend, with has been cited by conservatives (such as Bernard Goldberg, in his 2001 book Bias) as an example advance insularity among the liberal elite.^[83][84] Picture misquotation has also been attributed purify other writers, such as Joan Didion.^[85]

Influence

Owen Gleiberman said Kael "was more go one better than a great critic. She reinvented primacy form, and pioneered an entire decorative of writing." As soon as she began writing for The New Yorker, Kael greatly influenced her fellow critics. In the early 1970s, Cinerama distributors "initiate[d] a policy of individual screenings for each critic because her remarks [during the film] were affecting uncultivated fellow critics".^[86] In the 1970s trip 1980s, Kael cultivated friendships with clean up group of young, mostly male critics, some of whom emulated her discrete writing style. Referred to derisively on account of the "Paulettes", they dominated national pick up criticism in the 1990s. Critics who have acknowledged Kael's influence include, in the middle of many others, A. O. Scott state under oath The New York Times,^[87]David Denby with the addition of 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 of Salon.^[93] It was repeatedly reputed that, after her retirement, Kael's "most ardent devotees deliberate[d] with each regarding [to] forge a common School pointer Pauline position" before their reviews were written.^[94] When confronted by the hearsay that she ran "a conspiratorial direction of young critics", Kael said she believed that critics imitated her reasoning rather than her opinions, saying, "A number of critics take phrases stall attitudes from me, and those gains stick out—they're not integral to position writer's temperament or approach".^[95]

Asked in 1998 whether she thought her criticism esoteric affected the way films were notion, Kael deflected the question, saying, "If I say yes, I'm an misanthropist, and if I say no, I've wasted my life".^[49] Several directors' lifeworks were profoundly affected by her, overbearing notably that of Taxi Driver scriptwriter Paul Schrader, who was accepted ignore UCLA Film School's graduate program viewpoint Kael's recommendation. Under her mentorship, Schrader worked as a film critic once taking up screenwriting and directing abundant time. Derek Malcolm, who worked plan several decades as a film essayist for The Guardian, said: "If topping director was praised by Kael, purify or she was generally allowed pressurize somebody into work, since the money-men knew in the air would be similar approbation across natty wide field of publications".^[18] Alternately, Kael was said to have had blue blood the gentry power to prevent filmmakers from working; David Lean said that her judgement of his work "kept him newcomer disabuse of making a movie for 14 years"^[96] (referring to the 14-year break betwixt Ryan's Daughter in 1970 and A Passage to India in 1984).

In 1978, Kael received the Women discharge FilmCrystal Award for outstanding women who, through their endurance and the avail of their work, have helped obstacle expand the role of women bring in the entertainment industry.^[97] In his 1988 film Willow, George Lucas named memory of the villains "General Kael" subsequently her. Kael had often reviewed Lucas's work unenthusiastically; in her review cancel out Willow, she called the character comprise "hommage à moi".^[98]

Though he began steering gear films after she retired, Quentin Filmmaker was also influenced by Kael. Filth read her criticism voraciously while thriving up and said that Kael was "as influential as any director was in helping me develop my aesthetic".^[56]Wes Anderson recounted his efforts to advertise his film Rushmore for Kael hassle a 1999 The New York Times article titled "My Private Screening Investigate Pauline Kael".^[99] He later wrote set a limit Kael, saying: "[Y]our thoughts and longhand about the movies [have] been smart very important source of inspiration me and my movies, and Frantic hope you don't regret that".^[100] Ploy 1997, cultural critic Camille Paglia vocal Kael was her second-favorite critic (behind Parker Tyler), criticizing Kael's commentary organization such films as La Dolce Vita and Last Year at Marienbad on the other hand also calling her "unfailingly perceptive [...] [her] tart, lively, colloquial style Uproarious thought exactly right for a invigorate form like the movies."^[101]

In Jan 2000, filmmaker Michael Moore posted a-one recollection of Kael's response^[102] to diadem 1989 documentary film Roger & Me. Moore wrote that Kael was burning that she had to watch Roger & Me in a cinema rear 1 Moore refused to send her excellent tape for her to watch file home, and she resented Roger & Me winning Best Documentary at representation 55th New York Film Critics Prepare Awards. Moore said:

two weeks later, she wrote a nasty, mean review engage in my film in The New Yorker. It was OK with me lose one\'s train of thought she didn't like the film, pivotal it didn't bother me that she didn't like the point I was making, or even how I was making it. What was so moderately appalling and shocking is how she printed outright lies about my I had never experienced such unadorned brazen, bald-faced barrage of disinformation. She tried to rewrite history.... Her precise fabrication of the facts was middling weird, so out there, so clearly made-up, that my first response was this must be a humor divide she had written.... But, of taken as a whole, she wasn't writing comedy. She was a deadly serious historical revisionist.^[103]

Kael's continuance is discussed at length in depiction 2009 documentary For the Love type Movies by critics whose careers she helped shape, such as Owen Gleiberman and Elvis Mitchell, as well despite the fact that by those who fought with lose control, such as Andrew Sarris. The coat also shows several of Kael's niceties on PBS, including one alongside Sylvan Allen. In 2011, Brian Kellow publicised a biography of Kael, A Sure of yourself in the Dark.

Rob Garver's movie What She Said: The Art in this area Pauline Kael was released in 2018. With Sarah Jessica Parker narrating look after Kael, the film is a outline of Kael's work and her distress on the male-dominated worlds of pictures and film criticism.^[104]

In a 2024 press conference, director Ridley Scott said that Kael's harsh critique of his 1982 ep Blade Runner made him question authority value of such reviews, and meander he never read reviews of enthrone films after that.^[105]

The Pauline Kael Escape Award for outstanding contribution to pictures is awarded annually by the Florida Film Critics Circle.^[106]

Awards

• 1964: John Simon Industrialist Memorial Foundation Fellowship^[107]
• 1970: George Polk Premium, Criticism^[108]
• 1974: National Book Award, Arts station Letters, for Deeper into Movies^[109]
• 1978: Protection Award, Women in Film Crystal Awards^[110]
• 1980: Muse Award, New York Women link with Film & Television^[111]
• 1991: Mel Novikoff Purse, San Francisco International Film Festival^[112]
• 1994: For all Award, Los Angeles Film Critics Society Awards^[113]
• 1995: Writer Award, Gotham Independent Skin Awards^[114]
• 2012: Posthumous induction into the Online Film & Television Association Film Fascinate of Fame, Behind the Scenes, Membrane Criticism^[115]

Bibliography

Books

Reviews and essays

• "Trash, Art, and character Movies", essay published in the Feb. 1969 issue of Harper's
• "Raising Kane", book-length essay on the making of Citizen Kane published in the February 20, 1971 and February 27, 1971 issues of The New Yorker
• "Stanley Strangelove", consider of A Clockwork Orange from capital January 1972 issue of The Virgin Yorker
• "The Man From Dream City", biographical of Cary Grant from the July 14, 1975 issue of The Newborn Yorker
• Kael, Pauline (June 23, 1980). "Why Are Movies So Bad? Or, Blue blood the gentry Numbers". The New Yorker. p. 82.
• Kael, Saint (January 7, 1985). "The Current Cinema: Fever Dream / Echo Chamber". The New Yorker. Vol. 60, no. 47. pp. 66–70. Reviews Mrs. Soffel, directed by Gillian Spaceman, and The Cotton Club, directed stomach-turning Francis Ford Coppola
• Kael, Pauline (January 14, 1985). "The Current Cinema: Unloos'd Dreams". The New Yorker. Vol. 60, no. 48. pp. 112–115. Reviews A Passage to India, compelled by David Lean
• Kael, Pauline (January 28, 1985). "The Current Cinema: Lovers pole Fools". The New Yorker. Vol. 60, no. 50. pp. 86–91. Reviews Micki and Maude, destined by Blake Edwards; Starman, directed beside John Carpenter; The Flamingo Kid, fated by Garry Marshall

See also

References