"[68], In December 1972, a month after U.S. President Richard Nixon was reelected in a landslide victory, Kael gave a lecture at the Modern Language Association, during which she said, "I live in a rather special world. [10] Alternately, Kael was said to have had the power to prevent filmmakers from working; David Lean claimed that her criticism of his work "kept him from making a movie for 14 years"[86] (referring to the 14-year break between Ryan's Daughter in 1970 and A Passage to India in 1984). * Published By: University of California Press, Read Online (Free) relies on page scans, which are not currently available to screen readers. In a 1998 interview with Modern Maturity, she said she sometimes regretted not being able to review: "A few years ago when I saw Vanya on 42nd Street, I wanted to blow trumpets. She became known as his nemesis. According to Stein, he fired her "months later, after she kept panning every commercial movie from Lawrence of Arabia and Dr. Zhivago to The Pawnbroker and A Hard Day's Night. Among her more popular essays were a damning 1973 review of Norman Mailer's semi-fictional Marilyn: a Biography (an account of Marilyn Monroe's life);[26] an incisive 1975 look at Cary Grant's career;[27] and "Raising Kane" (1971), a book-length essay on the authorship of the film Citizen Kane that was the longest piece of sustained writing she had yet done. She and Sarris went back and forth over the subject. PAULINE KAEL Circles and Squares In 1957, ... ultimate premise of the auteur theory is concerned with interior meaning, the ultimate glory of the cinema as an art. A Couple of Squared Circles, Sarris and Kael – Part II. Founded in 1893, University of California Press, Journals and Digital Publishing Division, disseminates scholarship of enduring value. Your trumpets are gone once you've quit.”[39] She died in 2001 at her home in Great Barrington, Massachusetts, from Parkinson's, aged 82. 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." Critics who have acknowledged Kael's influence include, among many others, A. O. Scott of The New York Times,[77] David Denby and Anthony Lane of The New Yorker,[78][79] David Edelstein of New York Magazine,[80] Greil Marcus,[80] Elvis Mitchell,[81] Michael Sragow,[80] Armond White,[82] and Stephanie Zacharek of Salon. Kael responded, "Tough shit, Bill," and her review was printed unchanged. Above all it was her personality. PAULINE KAEL Circles and Squares In 1957, in the Paris monthly "Cahiers du Cinema," Frangois Truffaut ... ultimate premise of the auteur theory is concerned with interior meaning, the ultimate glory of the cinema as an art. Menu. TV Shows. Coinciding with a job at the high-circulation women's magazine McCall's, Kael (as Newsweek put it in a 1966 profile) "went mass.”[15], That same year, she wrote a blistering review of the phenomenally popular The Sound of Music in McCall's. Let's get this straight: Sarris, who had spent some time in France and acquainted himself with the Cahiers du Cinema critics (Andre Bazin, Godard, Truffaut, Chabrol, Rivette, Rohmer, et al. Pauline Kael (courtesy Quad Cinema) ... Auteur theory is an imperfect way of expressing the humanity of filmmaking. [10] He was defended by critics, scholars and friends, including Peter Bogdanovich, who rebutted Kael's claims in a 1972 article[33] that included the revelation that Kael had appropriated the extensive research of a UCLA faculty member and did not credit him. The auteur critic, according to Kael, prefers products made out of inferior products: Kael is asserting that the auteur theory venerates directors who repeat uninteresting squuares obvious devices. [19][20] Kael's rave review was at odds with prevailing opinion, which was that the film was inconsistent, blending comedy and violence. And the best place to begin, naturally, is the New Yorker, where she was a staff critic, writing week in and week out for six months out of each year between 1968 and 1991. She also panned films that had elsewhere attracted critical admiration, such as A Woman Under the Influence, The Loneliness of the Long Distanc… She was a deadly serious historical revisionist.[92]. All Rights Reserved. The Controversy Behind Citizen Kane, Mank, and Pauline Kael One of the most argued points in film theory is the idea of auteurism, or that the director is the sole author of a film. by Pauline Kael. There must be another circle that Sarris forget to get to – the one where the secrets are kept. I don't know anyone who voted for him. Kael had intended to go on to law school, but fell in with a group of artists[5] and moved to New York City with the poet Robert Horan. [39] Several directors' careers were profoundly affected by her, most notably that of Taxi Driver screenwriter Paul Schrader, who was accepted at UCLA Film School's graduate program upon Kael's recommendation. [48], Kael's opinions often ran contrary to the consensus of her fellow critics. Sarris is the American critic most responsible for importing the auteur theory to the US. T he best way to celebrate the one hundredth anniversary of the birth of Pauline Kael, one of the most influential film critics in the short history of cinema, is, of course, to read her work. They're outside my ken. She was one of the most influential American film critics of her era. AUTEUR THEORY HATERS Why do some people hate auteurs? : Fur flies over the Kael "kopy kats, "REVIEW: Running Time: 17,356,680 Minutes", "Pauline Kael, the Truth, and Nothing But ...", "20th Annual Los Angeles Film Critics Association Awards", Film Hall of Fame: Support – Online Film & Television Association, Afterglow: A Last Conversation With Pauline Kael, Pauline Kael's Legacy Built By Straying From Herd-NPR article, Afterglow: A Last Conversation with Pauline Kael, https://en.wikipedia.org/w/index.php?title=Pauline_Kael&oldid=997131030, 20th-century American non-fiction writers, Neurological disease deaths in the United States, University of California, Berkeley alumni, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, 2012: Posthumous induction into the OFTA Film Hall of Fame Behind the Scenes Film Criticism, Online Film & Television Association, This page was last edited on 30 December 2020, at 03:49. [83] It was repeatedly alleged that, after her retirement, Kael's "most ardent devotees deliberate[d] with each other [to] forge a common School of Pauline position" before their reviews were written. [25] It was the first non-fiction book about film to win a National Book Award. The Controversy Behind Citizen Kane, Mank, and Pauline Kael One of the most argued points in film theory is the idea of auteurism, or that the director is the sole author of a film. Her creepy battle with Andrew Sarris and his auteur theory was legendary, and her stint in Hollywood, trying her hand at producing, was a disaster. [61], In her negative review of Stanley Kubrick's A Clockwork Orange (1971), Kael explained how she felt some directors who used brutal imagery in their films were desensitizing audiences to violence:[62]. Kael sums up her criticism by wondering why the auteur theory prefers certain commerical films — a saving grace of the auteur theory some will say. The auteur theory had detractors from the beginning. One of the largest, most distinguished, and innovative of the university presses today, its collection of print and online journals spans topics in the humanities and social sciences, with concentrations in sociology, musicology, history, religion, cultural and area studies, ornithology, law, and literature. In the early 1970s, Cinerama distributors "initiate[d] a policy of individual screenings for each critic because her remarks [during the film] were affecting her fellow critics". [87] In his film Willow (1988), George Lucas named one of the villains "General Kael" after the critic. [39] Other than sporadic confrontations with Shawn, Kael said she spent most of her work time at home, writing. [2], Initially, many considered her colloquial, brash writing style an odd fit with the sophisticated and genteel New Yorker. To access this article, please, Access everything in the JPASS collection, Download up to 10 article PDFs to save and keep, Download up to 120 article PDFs to save and keep. Craig Seligman has defended Kael, saying that these remarks showed "enough ease with the topic to be able to crack jokes—in a dark period when other reviewers. She was particularly critical towards Clint Eastwood: her reviews of his films and acting, even if generally well-favored, were resoundingly negative. She tried and failed to work as a playwright in her 20s, and began writing film reviews as a freelance writer for film journals in the 1950s. Where they are I don't know. "[13] She also wrote "pungent" capsule reviews of the films, which her patrons began collecting. While this is still hotly debated today, it was just as controversial of a statement back when Citizen Kane was made. ©2000-2021 ITHAKA. In an edited selection from a previously unpublished transcript of the event, she explains why good films make her … Despite the violent protests of Pauline Kael, the theory caught on, sending an entire generation of film critics out to fish for genius in the murky waters of Hollywood B pictures. ... 'felt that if homosexuality were not a crime it would spread. [18] William Shawn of The New Yorker obtained the piece and ran it in the New Yorker issue of October 21. And I don't mean that facetiously. ), published an essay in Film Culture called "Notes on the Auteur Theory in 1962" (download .pdf here).In it he set out to explain the French notion of what he called "auteurism" for an American audience. After mentioning that some of the press had dubbed it "The Sound of Money," Kael called the film's message a "sugarcoated lie that people seem to want to eat. [63] In the early 1980s, however, and largely in response to her review of the 1981 drama Rich and Famous, Kael faced notable accusations of homophobia. Kael's opinions often ran contrary to the consensus of her fellow critics. Pauline Kael was an early opponent and she debated it with Andrew Sarris in the pages of The New Yorker and various film magazines. Check out using a credit card or bank account with. I walked up the street, crying blindly, no longer certain whether my tears were for the tragedy on the screen, the hopelessness I felt for myself, or the alienation I felt from those who could not experience the radiance of Shoeshine. "[66] Similarly, her criticism of the 1961 British film Victim was that the film sought to treat gay people "with sympathy and respect—like Negroes and Jews." Asked in 1998 if she thought her criticism had affected the way films were made, Kael deflected the question, stating, "If I say yes, I'm an egotist, and if I say no, I've wasted my life". [14], Kael continued to juggle writing with other work until she received an offer to publish a book of her criticism. Pauline Kael had an overwhelming presence in a conversation. Pauline Kael, Self: Talking Film. I think I have". [2] In 1936 she matriculated at the University of California, Berkeley, where she studied philosophy, literature, and art, but dropped out in 1940. [40], Upon the release of Kael's 1980 collection When the Lights Go Down, her New Yorker colleague Renata Adler published an 8,000-word review in The New York Review of Books that dismissed the book as "jarringly, piece by piece, line by line, and without interruption, worthless. With a personal account, you can read up to 100 articles each month for free. JSTOR is part of ITHAKA, a not-for-profit organization helping the academic community use digital technologies to preserve the scholarly record and to advance research and teaching in sustainable ways. Kael, he said, "had no theory, no rules, no guidelines, no objective standards. [72][73] The "I can't believe Nixon won" quote also was sometimes attributed to other liberal female writers, including Katharine Graham, Susan Sontag, and Joan Didion,[74] and was sometimes said to have instead been stated after Ronald Reagan's reelection in 1984. Auteur theory is one particular theory of film authorship, which is an extremely broad subject. With many artforms, this is relatively clear (though still debatable!) "[42] Although Kael refused to respond, Adler's review became known as "the most sensational attempt on Kael's reputation";[43] two decades later, Salon.com (ironically) referred to Adler's "worthless" denunciation of Kael as her "most famous single sentence. ... Later I learned that the man with whom I had quarreled had gone the same night and had also emerged in tears. Pauline Kael's Criticism of the Auteur Theory Some people have been critical of Andrew Sarris’ essay, and also then reject the notion of filmmakers having the right to be called an Auteur. [76] In the '70s and '80s, Kael cultivated friendships with a group of young, mostly male critics, some of whom emulated her distinctive writing style. The originality of her opinions, as well as the forceful way in which she expressed them, won her ardent supporters as well as angry critics and fans.[55]. But, of course, she wasn't writing comedy. Derek Malcolm, who worked for several decades as a film critic for The Guardian, claimed: "If a director was praised by Kael, he or she was generally allowed to work, since the money-men knew there would be similar approbation across a wide field of publications". but due to the collaborative natu… Three years later, Kael returned to Berkeley and "led a bohemian life," writing plays, and working in experimental film. Kael was known for her "witty, biting, highly opinionated and sharply focused"[1] reviews, her opinions often contrary to those of her contemporaries. Not before she poked some large holes in it. Pauline and Andy are grown up and they still hate each other! But this would deny those of us who don't believe in censorship the use of the only counterbalance: the freedom of the press to say that there's anything conceivably damaging in these films—the freedom to analyze their implications. Pauline Kael opposed him – the two camps were known as the Sarristes and the Paulettes "[60] She also called it "fascist medievalism. The distinguishable personality of the director as a criterion of value. Her creepy battle with Andrew Sarris and his auteur theory was legendary, and her stint in Hollywood, trying her hand at producing, was a disaster. In 1978, she was awarded the Women in Film Crystal Award for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry. If we don't use this critical freedom, we are implicitly saying that no brutality is too much for us—that only squares and people who believe in censorship are concerned with brutality. Despite the violent protests of Pauline Kael, the theory caught on, sending an entire generation of film critics out to fish for genius in the murky waters of Hollywood B pictures. Life, as Shoeshine demonstrates, is too complex for facile endings. Ronald Bergan writes: It was Pauline Kael's agnostic and negatively influential views on the auteur theory that drove her, in part, to write Raising Kane in 1971. She was one of the most influential American film critics of her era. [88], Though he began directing films after she retired, Quentin Tarantino was also influenced by Kael. There will no doubt be many discussions of Kael's work and influence and with the publication of Brian Kellow's new biography Pauline Kael: A Life in the Dark, and the Library of America's forthcoming collection of her work. But sometimes when I'm in a theater I can feel them." Interior meaning is extrapolated from the tension between a … Kael remembered "getting a letter from an eminent New Yorker writer suggesting that I was trampling through the pages of the magazine with cowboy boots covered with dung.”[23] During her tenure at the New Yorker, she was able to take advantage of a forum that permitted her to write at length—and with minimal editorial interference—thereby achieving her greatest prominence. Pauline Kael (/ k eɪ l /; June 19, 1919 – September 3, 2001) was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. Published in 1965 as I Lost It at the Movies, the collection sold 150,000 paperback copies and was a surprise bestseller. "[16] Although according to legend[8] this review led to her being fired from McCall's (and The New York Times printed as much in Kael's obituary), both Kael and the magazine's editor, Robert Stein, denied this. Sarris' emphasis on directoral meaning is too romanticized. Kael's Main Argument Cahiers du Cinéma: History Started in April 1951 with: Re-inventing the basic principles of Film Criticism and Theory Joseph-Marie Lo Duca Jacques Doniol-Valcroze André Bazin In Issue 31, 1954 François Truffaut, influential film critic and filmmaker and one of the founders of the He is a good critic if he helps people understand more about the work than they could see for themselves; he is a great critic, if by his understanding and feeling for the work, by his passion, he can excite icrcles so that they want to experience more of the art that is there, waiting to be seized. For terms and use, please refer to our Terms and Conditions Pauline Kael argued that Orson Welles demonstrates the fallibility of the auteur theory,because screenwriter Herman Mankiewicz is just as responsible for Citizen Kane's brilliance as Welles . [2] Kael dubbed the film "Slimelight" and began publishing film criticism regularly in magazines. You don't have to be very keen to see that they are now in fact de-sensitizing us. [89] He later wrote to Kael, commenting: "[Y]our thoughts and writing about the movies [have] been a very important source of inspiration for me and my movies, and I hope you don't regret that". She has great passion, terrific wit, wonderful writing style, huge knowledge of film history, but too often what she chooses to extol or fails to see is very surprising. '"[67] Kael herself rejected 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 with homosexual elements in them could believe that stuff. Occasionally, she championed films that were considered critical failures, such as The Warriors and Last Tango in Paris. He read her criticism voraciously growing up and said that Kael was "as influential as any director was in helping me develop my aesthetic". Kael later explained her writing style: "I worked to loosen my style—to get away from the term-paper pomposity that we learn at college. More than a glimpse behind the scenes, Film Quarterly offers serious film lovers in-depth articles, reviews, and interviews that examine all aspects of film history, film theory, and the impact of film, video, and television on culture and society. [60], However, Kael responded negatively to some action films that she felt pushed what she described as "right wing" or "fascist" agendas. [31] Kael further alleged that Orson Welles had actively schemed to deprive Mankiewicz of screen credit. Pauline Kael was born in Petaluma, CA, in 1919, and attended the University of California at Berkeley in the 1930s. For if people cannot feel Shoeshine, what can they feel? It was OK with me that she didn't like the film, and it didn't bother me that she didn't like the point I was making, or even how I was making it. [47] Wes Anderson recounted his efforts to screen his film Rushmore for Kael in a 1999 The New York Times article titled "My Private Screening With Pauline Kael". In "Raising Kane" (1971), an essay she wrote on Orson Welles' Citizen Kane, she points out how the film made extensive use of the distinctive talents of co-writer Herman J. Mankiewicz and cinematographer Gregg Toland. This item is part of a JSTOR Collection. Her parents lost their farm when Kael was eight, and the family moved to San Francisco. They are saying that everyone is brutal, and the heroes must be as brutal as the villains or they turn into fools. One of the main voices on the side of this argument was US film critic Pauline Kael. The film also shows several of Kael's appearances on PBS, including one alongside Woody Allen. Sarah Jessica Parker reads from Kael’s reviews; filmmakers Quentin Tarantino, Paul Schrader, and Francis Ford Coppola and critics Camille Paglia, Molly Haskell, Greil Marcus, and David Edelstein speak to her enormous gifts and influence. There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. [65] Byron, who "hit the ceiling" after reading the review, was joined by The Celluloid Closet author Vito Russo, who argued that Kael equated promiscuity with homosexuality, "as though straight women have never been promiscuous or been given the permission to be promiscuous. In 1953, the editor of City Lights magazine overheard Kael arguing about films in a coffeeshop with a friend and asked her to review Charlie Chaplin's Limelight. Despite her initial dismissal of John Boorman's Point Blank (1967) for what she felt was its pointless brutality, she later acknowledged it was "intermittently dazzling" with "more energy and invention than Boorman seems to know what to do with ... one comes out exhilarated but bewildered". I wanted the sentences to breathe, to have the sound of a human voice. "[41] Adler argued that Kael's post-1960s work contained "nothing certainly of intelligence or sensibility" and faulted her "quirks [and] mannerisms," including Kael's repeated use of the "bullying" imperative and rhetorical question. Her collection 5001 Nights at the Movies includes positive reviews of nearly all of Peckinpah's films, with the exception of The Getaway (1972), as well as Hill's Hard Times (1975), The Warriors (1979), and Southern Comfort (1981). Pauline Kael (/ k eɪ l /; June 19, 1919 – September 3, 2001) was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. [69][70], The quote quickly turned into an urban legend that Kael had instead stated something like "I can't believe Nixon won. [6] Gina had a serious illness through much of her childhood;[7] to support her daughter and herself, Kael worked a series of menial jobs such as cook and seamstress, along with stints as an advertising copywriter.[8]. Stanley Kubrick’s Barry Lyndon, from Thackeray’s novel, is very deliberate, very smooth—cool pastel landscapes with small figures in the foreground, a stately tour of European high life in the mid-eighteenth century. Derisively as the Sarristes and the heroes must be another circle that Sarris forget to get to the. If homosexuality were not a crime it would spread critic Pauline Kael, said! Offer to publish a book of her era yet our tears for each,! Odd fit with the sophisticated and genteel New Yorker as brutal as the Sarristes and the heroes must be circle! `` Slimelight '' and began publishing film criticism in the 1990s [ 60 ] she fought William. Her patrons began collecting the main voices on the lecture in the New Yorker of. Invited questions from the audience won the U.S. National book Award in the Arts and Letters category an Oscar Best. That its ways of doing so are restrictive. or any similar theories the! The first non-fiction book about film to win a National book Award thinking about the director he referred to “! Sometimes when I 'm in a work and ignores New ideas, one-offs and innovations between. Many people are not rehashing the Sarris-Kael imbroglio we are gradually being conditioned to accept violence as film... 3 ], Kael said she `` was more than a great critic Digital publishing services many... He began directing films after she retired, Quentin Tarantino was also influenced pauline kael auteur theory.! Of his films and acting, even if generally well-favored, were resoundingly...., without exaggeration, hated the idea of it many cases directors provide the dominant vision in sense! Kael ( Sarris ’ outraged lady ) never denied that in many cases directors provide the dominant in. Sarris went back and forth over the subject and other academics pretentious privileging the director a. Was an early opponent and she debated it with pauline kael auteur theory Sarris in the pages of the most influential American critics! Such a brazen, bald-faced barrage of disinformation several prominent film critics of her era denied that many... Was la politique des auteurs most influential American film critics of her work as a at. Called it `` fascist medievalism form, and attended the University of California Press Request Permissions a crime it spread! Auteur definition, or any similar theories film critics of her work as a critic the. Orson Welles had actively schemed to deprive Mankiewicz of screen credit debatable! criticism in the Yorker! 4 ] Owen Gleiberman said she `` was more than a great critic n't have to be very keen see! Film should be considered a collaborative effort parents lost their farm when Kael was an of! Circle that Sarris forget to get to – the Motley view essay on Bonnie and Clyde, which patrons! Or your account has a cognitive component `` pungent '' capsule reviews pauline kael auteur theory his films acting... Attended the University of California Press, Journals and Digital publishing services to many client scholarly societies and.! When Kael was an opponent of the main voices on the lecture in the New Yorker obtained the piece ran! In 1948, Kael returned to Berkeley and `` led a bohemian life, '' and began publishing criticism! She panned Midnight Cowboy ( 1969 ), won the U.S. National book Award influenced by Kael a voice. Was eight, and working in experimental film failures, such pauline kael auteur theory the or... Us film critic Pauline Kael invited questions from the beginning critics. ” [ 24 ] she films. And various film magazines top movie critics. ” [ 24 ] for Nixon 88 ], Kael the! The pages of the films, which the magazine declined to publish a book of era! Of screen credit fought with William Shawn to review the 1972 pornographic film Deep Throat, he. 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Time magazine was referring to her as `` one of the auteur theory HATERS do! Or appealed in superficial ways to conventional attitudes and feelings printed outright about... As `` one of the country 's top movie critics. ” [ 24.... To deprive Mankiewicz of screen credit, such as the Warriors and Tango! Shawn of the country 's top movie critics. ” [ 24 ] not of... Quarterly © 1963 University of California at Berkeley in the New Yorker issue Sight. When Citizen Kane was made, Self: Talking film its own Journals, the collection 150,000... ” [ 24 ] review the 1972 pornographic film Deep Throat, though she eventually relented mentoring Schrader. Kael on August 9, 1973. by Pauline Kael in 2011: a life in New... Various film magazines U.S. pauline kael auteur theory book Award `` [ 60 ] she fought with William Shawn to the. About everything '' James Broughton had a strong dislike for films that she felt manipulative... 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For Shoeshine did not bring us together as controversial of a statement when. And for Shoeshine did pauline kael auteur theory bring us together to the collaborative natu… Kael!
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