Where results make sense

About us   |   Why use us?   |   Reviews   |   PR   |   Contact us

Topic: Kael

    Note: these results are not from the primary (high quality) database.

Pauline Kael In it, a bescarfed, blandly-smiling Kael cuddles with a cute-faced pooch. Kael, the celebrated film critic who died on September 3 at age 82, was a fierce opponent of fake gentility and treacly sentiment in all its guises. Kael was most influential during the years she wrote for The New Yorker (1968-1991). www.goodbyemag.com /jul01/kael.html   (839 words)

Financial Review: Presenting Pauline Kael v Susan Sontag Kael was small and never threatened beauty, but she was passionately animated, and there was clearly a time in her life when she was as much a hound for men as her chatty prose was later attuned to the erotics of that skin substitute known as the movie. Kael, on the other hand, liked to pull off a breathless dunk and then turn, ecstatic, for the high fives of her young followers, the Paulettes (all crouching to match her height). Kael, on the other hand, spurned by fate for so long, hit a lucky streak beyond equal in that she came to The New Yorker just as adult, tough, new films were being made in America. afr.com /cgi-bin/newtextversions.pl?storyid=1065676091776&date=2004/07/16&pagetype=printer§ion=1053801326001&path=/articles/2004/07/15/1089694483730.html   (2691 words)

Guardian Unlimited Obituaries Obituary: Pauline Kael Pauline Kael, the immensely influential critic of the New Yorker magazine from 1968 to 1991, who has died aged 82 from Parkinson's disease, always insisted that she was also writing about life - "the sense of the way movies interacted with public life". Kael was criticised by many colleagues in the late 1970s when she resigned from the New Yorker to become an executive consultant for Paramount Pictures. Pauline Kael was small, wiry and as energetic as a terrier. www.guardian.co.uk /obituaries/story/0,3604,546921,00.html   (1577 words)

The New York Review of Books: Finding It at the Movies Pauline Kael understood these things, and she consciously built her practice as a reviewer around them; and that is why she is a supremely important figure even for writers who, although they grew up reading everything she wrote, always strived, in their own work, never to sound like Pauline Kael. Kael's followers are known, a little dismissively, as "the Paulettes." The usual complaints about them are that they imitate mindlessly Kael's enthusiasm for the cheap-thrill element of popular culture, and that they are all parrots of her journalistic mannerisms. Kael had a second infatuation, though, and it was with a kind of movie that had nothing generic about it, a kind of movie in which the director was the star. www.nybooks.com /articles/1959   (5710 words)

BBC News FILM Film critic Pauline Kael dies Kael's father was a movie fan and she in turn became an avid reader and movie enthusiast. Kael's witty, often slangy, language immediately struck a chord among readers and was considered by many as a breath of fresh air. Kael - whose passionate and uncompromising reviews in The New Yorker magazine were esteemed by fans and film-makers alike - died on Monday at her home in Barrington, Massachusetts. news.bbc.co.uk /1/hi/entertainment/film/1524479.stm   (814 words)

Bright Lights Film Journal Pauline Kael Kael goes too far, however, in denying the charge that the film romanticizes crime and violence when she claims that the Barrow gang is “horrified by [violence] and ultimately destroyed by it.” After the shootout in Joplin, which resulted in the death of three cops, the gang reads its press notices with delight. Kael was remembering her own long years of poverty and frustration, trying to do something “creative” — working on the fringes of experimental film and writing plays that were never produced — efforts that never paid off and in which she took no pride. Kael’s discussion of the film’s violence is quite acute, and she makes the nice distinction that a film that is a work of art (though “flawed”) can use violence effectively, while a cheap, fraudulent film like The Dirty Dozen can use violence offensively (though neither should be banned). www.brightlightsfilm.com /46/kael.htm   (4649 words)

Metroactive Movies Pauline Kael Kael was, as she wrote of Farber, an education even when tearing up a film you like. Kael, who died Monday, Sept. 3, at the age of 82, changed all that with her prose. Still, Kael only needed one shot at a movie, perhaps because she was raised in an era when films could be such rare birds. www.metroactive.com /papers/metro/09.06.01/kael-0136.html   (1552 words)

After Pauline Pauline Kael retired from the New Yorker in 1991 and died on Sept 03, 2001 at age 82. Kael shows a remarkable memory for details about movies she had seen through out her life, and builds on her observations to analyze genres and styles, trends and careers. Kael admits she had difficulties with editors within her own magazine, because she sometimes felt her writing about pop culture was not fully appreciated by the New Yorker, which she said had gotten "a little stiff." medialit.med.sc.edu /kael.htm   (356 words)

Salon Brilliant Careers A gift for effrontery Kael has been providing revelation, scorn, ecstasy and H-E-L-P for the movies for so long, it's hard to believe that she was in her 40s when she loosed these early salvos. Kael was hired at the New Yorker by editor William Shawn in 1967. Born in Petaluma, Calif., on June 19, 1919, she is the daughter of Polish immigrants who moved to San Francisco during the Depression; Kael attended UC-Berkeley as a philosophy major. www.salon.com /bc/1999/02/09bc.html   (473 words)

Pauline Kael: A Lone Voice of Reason - The Student Life Kael was famous for her acerbic wit, and her fans also love her for her unpredictability. One of Kael’s most enduring qualities was that she thought for herself, and urged readers of her reviews and viewers of the movies to do the same. Not if you ask Pauline Kael, regarded by many to be the greatest movie critic of her generation. www.tsl.pomona.edu /index.php?article=156   (709 words)

Salon.com Arts & Entertainment Remembering Pauline Kael Pauline Kael, the influential film critic of the New Yorker from the 1960s until the early '90s, died Monday. Before Kael, it was the literary critic who ruled the roost, and in the first half of the twentieth century Edmund Wilson was the big gun. At first, I was going to say that Kael was the most stylistically influential critic since James Agee; then it occurred to me that Agee, while a wonderful stylist, hadn't had anywhere near the impact that Kael did. archive.salon.com /ent/movies/feature/2001/09/03/kael_remembrances   (1114 words)

NPR - All Things Considered: Pauline Kael Kael, who had Parkinson's disease, was 82 years old when she died. Kael was a movie critic for The New Yorker from 1967 to 1991. Kael was a passionate fan of films like The Godfather, Bonnie & Clyde and Mean Streets, and called Last Tango in Paris possibly the most liberating movie ever made. www.npr.org /programs/atc/features/2001/sep/kael/010904.kael.html   (496 words)

Home Page Pauline Kael had a very good line about how one of the things movie criticism taught you was the way some relationships split apart, finally, when the two of you go to a movie and discover how different you are. When Pauline Kael sits down to review a new film, she is able to sum up pertinent details from the thousands of American and foreign films that preceded it. Pauline Kael has brought the same fierce passion, independence, and incisiveness to her movie reviews since she took on Charlie Chaplin's Limelight in 1952. www.central.edu /homepages/feeneym/FilmCriticism/wilson.htm   (1900 words)

Amazon.com: Afterglow: A Last Conversation With Pauline Kael: Books: Francis Davis Kael mentions several wonderful films that have all but fallen into obscurity, all because most critics are afraid to take a stand and swim upstream against the tide of their colleagues. Afterglow: A Last Conversation With Pauline Kael by Francis Davis (Contributing Editor of Atlantic Monthly magazine) is an absorbingly written memory of the wit, wisdom, and wonder of a truly great actress, and the memorable chat she had with author Francis Davis shortly before her unfortunate death. Pauline Kael is not someone you feel lightly about - you either love her or hate her (there's a website called die-critics-die that gets my blood boiling...). www.amazon.com /exec/obidos/tg/detail/-/0306812304?v=glance   (2017 words)

ArtForum: Prose and cons - an appreciation of Pauline Kael, New Yorker's film critic Pauline Kael, the New Yorker's film critic from 1968 until 1991 (save for a brief hiatus in 1978, when she took a short-lived job at a Hollywood studio), died on September 3, 2001. The story goes that Pauline Kael's first review was called "Slimelight": That was what the late poet Robert Duncan, with whom Kael had gone to see Charlie Chaplin's Limelight, called the picture when they walked out of the theater. The word is used nowhere in or on Kael's piece, which-appearing in 1953 in City Lights, a journal that, like the San Francisco bookstore that published it, was named for another Chaplin movie-is still harsh enough to bring the reader up short. www.findarticles.com /p/articles/mi_m0268/is_7_40/ai_84182767   (466 words)

Pauline Kael Archives Pauline Kael was hard as nails...funny as hell. Kael influenced Hollywood and moviegoers for a generation. The Anxiety of Influence: Sarah Kerr on Kael & Sontag, in Bookforum. www.rockcritics.com /archives/kael.html   (364 words)

The Austin Chronicle Screens: Pauline & Paulettes Kael made similar comments to me, which is one of the many familiar echoes that make me recognize that Davis' collection of transcribed conversations with the retired critic brims with accuracy and authenticity. I had been fortunate enough to meet and spend some time with Kael during the last couple years of her life, and my brain is still scrambling to remember every single detail of those conversations. Kael's acerbic insights on a variety of topics come through here in this informal setting just as clearly and entertainingly as they did in her published reviews. www.austinchronicle.com /issues/dispatch/2002-10-11/screens_roundup2.html   (339 words)

City Pages - When the Lights Go Down Pauline Kael wrote only every other week then--it was the summer of 1981--so it was always a kick to try to guess what film would be the recipient of her godly attentions. Kael was able to get away with her key Shakespearean flaw--there was not a trace of religion or politics or any other belief in her, save twirling sensual pleasure--because her ideas and prose burned with a diabolical fervor. The key to the genius of Pauline Kael was that even the movies she claimed to hate clearly often filled her with mirth. www.citypages.com /databank/22/1084/article9813.asp   (1100 words)

Pioneering Critic Pauline Kael Dies - Sep 04, 2001 - E! Online News Kael was born in Petaluma, California, in 1919 and developed her affection for cinema from her film buff father. Kael went on to write for Life magazine in 1965, McCall's in 1965 and 1966 and The New Republic in 1966 and 1967. But Kael did her best to convince them that she was right. www.eonline.com /News/Items/0,1,8770,00.html   (658 words)

Storefront Demme - PAULINE KAEL Known for her iconoclastic views (she was fired from McCall's after condemning The Sound of Music), Kael regularly endorsed films that were dismissed by other prominent critics (ie. Many of these films are now considered classics and, in some cases, Kael's reviews paved the way for this perception. She is often credited with establishing his reputation, among film critics, filmgoers, and even within the film industry, itself. www.storefrontdemme.com /paulinekael.html   (239 words)

Roger L. Simon: Pauline Kael Revisited Double full disclosure: Pauline Kael once called me a "well known author of pop drivel" and the writer of the article I am about to link is an old friend who said kind words about me in a book of his about American Jews (now, alas, out of print). Right, but when Pauline Kael was wrong, her writing was a lot better than this drivel. First of all, Pauline Kael wrote most of her best stuff when she was wrong. www.rogerlsimon.com /mt-archives/2004/08/pauline_kael_re.php   (6259 words)

The Broad View: Pauline Kael, Film Criticism's Good Mommy Only Kael tapped into the basic psychology of film-viewing; that there, in that temperature-regulated womb of a movie theater, complete with a light flickering at the end of the tunnel, we each, alone but together, shoulder to shoulder, are silently reborn each time. In a way, Altman and Kael’s tone is of a piece: marked by a high-minded chattiness that never borders on pretension even when it misses the mark. What distinguishes Kael’s writing, even after all these years and even in this era of critical oversaturation, is that she’s writing for someone who’s already seen the movie. lisarosman.blogspot.com /2005/12/pauline-kael-film-criticisms-good.html   (1016 words)

Pauline Kael dies at 82 (September 5, 2001) Pauline Kael left the world at age 82, from Parkinson’s disease, leaving behind not only an immense amount of writings about cinema, but also a huge influence on each and every one of us remaining critics. Loved by many, hated by many as well, but overall feared and respected by all filmmakers, Pauline Kael made of film criticism what it is now, and is one of the reasons why we work day by day in rating, analyzing and expressing our deepest thoughts about all kinds of films. Pauline Kael worked for many newspapers, including the New Yorker where she stayed for a decade. www.criticsociety.com /newsp.asp?id=181   (282 words)

Pauline Kael - A Tribute Kael wrote at a sprint, loved the quick turnaround of weekly reviewing and famously claimed she never saw a film a second time. Born in California, Pauline Kael studied philosophy, literature and the arts at Berkeley and briefly considered a career as a playwright. In her early essays as a critic, Kael shared her pleasure in filmmakers as diverse as Jean-Luc Godard, Kon Ichikawa, and François Truffaut as well as assailing the current critical tastemakers such as the New York critic Bosley Crowther. www.sensesofcinema.com /contents/01/17/kael.html   (1669 words)

Power Line: Our readers Several remembered, as I should have, that it was New Yorker film critic Pauline Kael who is said to have wondered how Nixon could have won the 1972 election when everyone she knew had voted for McGovern. The story is that, after watching a cut of a move called "Buffalo Bill and the Indians" (I think), Kael said the movie was "droopy." Altman pressed her for more specific criticisms, but apparently Kael just kept saying that she fouond the movie droopy. Kael was a great promoter of certain Altman movies such as "McCabe and Mrs. powerlineblog.com /archives/005524.php   (313 words)

Critical look at critics Sontag, Kael Kael had perhaps the one true faculty any great critic needs: a minute attentiveness to her own unpredictable artistic responses, and utter deafness to anyone else's. When Pauline Kael loved a movie, she rarely made you wait till the second paragraph for the good news. He admits that Kael is a livelier writer than Sontag, a funnier writer, and usually a more insightful one, but he refuses to tally what those advantages add up to. sfgate.com /cgi-bin/article.cgi?f=/c/a/2004/06/01/DDGUP6TQKT1.DTL   (1010 words)

JamieMadrox Blog at GuildPortal Guild Hosting By the time I was able to log in I watched with horror as Kaelthas finnaly fell, his exhausted body slowly exhailing his final breath. At the same time, Kaelthas was going to town with his duals. Luckily Kaelthas has a few greater healerz chilling in his inventory and he remained alive. www.guildportal.com /Blog.aspx?Blog=46953   (1362 words)

False American Idols The late Kael, politically obtuse as she was, could probably tell you what country dictator Saddam Huessein was from. This arrogant mind-set is reminiscent of theater critic Pauline Kael's reaction to Richard Nixon's landslide presidential victory over George McGovern in 1972" "How can that be?" she supposedly said. And it's certain, she would expect a two-time-Oscar-winning actress to recognize Shakespeare when she hears it. www.frontpagemag.com /Articles/Printable.asp?ID=4047   (976 words)

Steven Rubio's Online Life: kael/nixon update Kael told me the story of that mysterious quotation when it appeared in (I think) The Wall Street Journal several years ago. My sense was that Kael wouldn't have said such a thing, so I threw down a challenge to anyone to give me documented evidence that she'd ever said it. She never said it, and she was irked by the fact that it was so often attributed to her. begonias.typepad.com /srubio/2004/12/kaelnixon_updat.html   (980 words)

Try your search on: Qwika (all wikis)

About us   |   Why use us?   |   Reviews   |   Press   |   Contact us   Copyright © 2005-2007 www.factbites.com Usage implies agreement with terms.