pauline kael on godard

It is a social activity, an extroverted and egotistic image of the genius-creator. Pauline Kael is a moviegoer, as were James Agee and Robert Warshow—before Miss Kael, the only two really special American writers on the subject of the movies. They probably won’t be able to make satisfying movies until the problems of sound are solved not only technically but in terms of drama, structure, meaning, relevance. Although his technical control is superb, so complete that one cannot tell improvisation from planning, the ideas and bits of business are often so arbitrary that they appear to be (and probably are) just things that he chanced to think of that day, or that he came across in a book he happened to be reading. Flashdance US (1983): Drama 96 min, Rated R, Color, Available on videocassette and laserdisc A lulling, narcotizing musical, it sells the kind of romantic story that was laughed off the screen 30 years ago, and then made a comeback with ROCKY I, II, and III, and it's like a sleazo putting the make on you. The fragile existence of the characters becomes poignant, upsetting, nostalgic; we care more. It's a notion that takes some growing used to, but Pauline Kael makes her case persuasively: "Almost every interesting American movie in the past few years has been directed by a Catholic." As proof that they do not mar their instinct with pedantry or judgment, they may retain the blank leader to the roll of film. But, loving the movies that formed his tastes, he uses this nostalgia for old movies as an active element in his own movies. You play at cops and robbers but the bullets can kill you. It’s the casual way he omits mechanical scenes that don’t interest him so that the movie is all high points and marvelous (sic) “little things.” Godard’s style, with its nonchalance about the fates of the characters—a style drawn from American movies and refined to an intellectual edge in post-war French philosophy and attitudes—is an American teenager’s ideal. All dedicated to the gorgeous actress Pauline Marion Goddard Levy, better known as Paulette Goddard. Through what is almost a technological fluke, 16 mm movie cameras give the experimental film-maker greater flexibility than the “professional” 35 mm camera user, but he cannot get adequate synchronous sound. In certain groups, automatic writing with a camera has come to be considered the most creative kind of film-making. If ever there was a great example of how the best popular movies come out of a merger of commerce and art, The Godfather is it. What was to be a simple commercial movie about a robbery became. Yet few others have taken that wonderful basic precaution of having a subject or of attempting to explore the world. Bertolucci has been working … In this achievement of independence, he is almost alone among movie directors: it is a truly heroic achievement. The world of Band of Outsiders is both “real”—the protagonists feel, they may even die; and yet “unreal” because they don’t take their own feelings or death very seriously, as if they weren’t important to anybody, really. When this imagined world is as exquisite as in Band of Outsiders we may begin to feel that this indifference or inability to connect with other worlds is a kind of aesthetic expression and a preference. It is not an answer to toss on a spoofing semi-synchronous sound track as a number of young film-makers do. (All of his films are in that sense documentaries—as were also, and also by necessity, the grade B American gangster films that influenced him.) To say it flatly, Godard is the Scott Fitzgerald of the movie world, and movies are for the sixties a synthesis of what the arts were for the post-World-War-I generation—rebellion, romance, a new style of life. I have put it that way to be either irritatingly pretentious or lyrical—depending on your mood and frame of reference, in order to provide a critical equivalent to Godard’s phrases. At her best, Pauline Kael was everything a film critic should be: passionate, knowledgable, in love with the movies and writing about them, willing to defend her reviews, and vicious. 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. I think those most responsive to Godard’s approach probably do both simultaneously. They are basically right, of course, in what they’re against. WorldCat Home About ... a debate [between] Jean-Luc Godard and Pauline Kael \/ Camera Obscura -- Annals of film criticism : Pauline Kael \/ Kristine McKenna -- Did she lose it at the movies? This, however we may feel about it, is a contemporary mood; and Godard, who expresses it, is part of it. More: Andrew Sarris Cahiers du Cinema Jean-Luc Godard Pauline Kael Wes Anderson. At times there is a disarming, an almost ecstatic, innocence about the way he uses quotes as if he had just heard of these beautiful ideas and wanted to share his enthusiasm with the world. Even his world of the future, Alphaville, is, photographically, a documentary of Paris in the present. Kids who can’t write, who have never developed any competence in photography, who have never acted in nor directed a play, see no deterrent to making movies. The new Pauline Kael biography by Brian Kellow gets into this a bit, and it's not flattering to Kael at all. Erratene Übersetzungen. They simply take short cuts into other art forms or into pop arts where they can “express themselves” now. They’re rich and rotten.” But, of course, you can be poor and not so very honest and, although it’s harder to believe, you can even be rich and not so very rotten. In an edited selection from a previously unpublished transcript of the event, she explains why good films make her a better writer. It’s the tension between his hard, swift, cool style and the romantic meaning that style has for him (and for other lovers of “unsentimental”—!—American gangster movies) that is peculiarly modern and exciting in his work. These men (and their films) are not flamboyant; they don’t issue manifestos, and they don’t catch the imagination of youth. At the same time it is definitive. The screen writer greeted her enthusiastically, “I really dig your dress, honey,” he said. Probably, like the students in film courses who often do fresh and lively work, they’re not surprisingly enough, not different enough. Few seem to have noticed that by the time of Juliet of the Spirits he had turned into a professional party-giver. (There are, of course, some young film-makers who are not interested in movies as we ordinarily think of them, but in film as an art-medium like painting or music), and this kind of work must be looked at a different way—without the expectation of story content or meaning.) The reverse is closer to the truth: it’s becoming almost impossible to produce a decent looking movie in a Hollywood studio. She knows, as did Agee and War-show, that when you walk … Home. If there are no cinematographers in modern Hollywood who can be discussed in the same terms as Henri Decae or Raoul Coutard or the late Gianni di Venanzo it’s because the studio methods and the union restrictions and regulations don’t make it possible for talent to function. It seems likely that many of the young who don’t wait for others to call them artists but simply announce that they are, don’t have the patience to make art. I don’t hate Godard, but he’s very easy to hate during certain films. The New Yorker Movie Club. Kenneth Anger did it with Scorpio Rising. We do something similar when reading Cervantes. His characters don’t plan or worry about careers or responsibilities; they just live. It's a notion that takes some growing used to, but Pauline Kael makes her case persuasively: "Almost every interesting American movie in the past few years has been directed by a Catholic." ... (This does not apply to a man like Jean-Luc Godard, who is not a mass-medium movie director.) Pauline Kael later wrote of Goddard, "she is a stand-out. The shrewdest thing to say about Pauline Kael – beyond recognising that she was essential – is that she was kind of crazy. He plays with his belief and disbelief, and this playfulness may make his work seem inconsequential and slighter than it is: It is as if the artist himself were deprecating any large intentions and just playing around in the medium. Jean-Luc Godard intended to give the public what it wanted. I started reading her in high school and she gave me a sense of what to look for when seeing any genre of … But their visual explorations of their states of consciousness (with the usual implicit social protest) get boring, the mind begins to wander, and though this lapse in attention can be explained to us as a new kind of experience, as even the purpose of cinema, our desire to see a movie hasn’t been satisfied. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to artists from all fields. And a staggering number of them wish to be or already call themselves “film-makers.”. What the young seem to be interested in is brutalism. The tawdry American Nights of gangster movies that were the magic of Godard’s childhood formed his style—the urban poetry of speed and no afterthoughts, fast living and quick death, no padding, no explanations—but the meaning had to change. And we watch, apprehensive and puzzled, as the three of them act out the robbery they’re committing as if it were something going on in a movie—or a fairy tale. But until recently, people were rather shamefaced or terribly arch about relating their reactions in terms of movies. Only the title of Jean-Luc Godard’s new film is casual and innocent; Weekend is the most powerful mystical movie since The Seventh Seal and Fires on the Plain and passages of Kurosawa. He reintroduces it, giving it a different quality, using it as shared experience, shared joke. Toggle navigation. Maybe he is attempting to escape from freedom when he makes a beautiful work and then, to all appearances, just throws it away. Pauline Kael’s nose was too keen, Deep Throat’s musk too potent for their encounter to be other than inevitable. Because they have actors and a story. And although most of the results are bad beyond our wildest fears, as if to destroy all our powers of prediction, a few, even of the most ignorant, pretentious young men and women, are doing some interesting things. Godard, Truffaut, and Bergman were all at the peak of their powers; in the U.S., Kubrick, De Palma and others were breaking the rules of conventional movie making. In many foreign countries, it is this very luxuriousness that is most envied and admired in American movies: the big cars, the fancy food, the opulent bachelor lairs, the gadget-packed family homes, even the loaded freeways and the noisy big cities. They have been soaked up by the screen. Legendary New Yorker film critic Pauline Kael is the subject of a new documentary, now at the Gene Siskel Film Center. More Pauline Kael in the July 2019 issue of Sight & Sound Mission critical. The difference is in how easily they do it all. Jean-Luc Godard intended to give the public what it wanted. Conversations with Pauline Kael Literary Conversations Series: Amazon.de: Brantley, Will: Fremdsprachige Bücher She goes on to call Kubrick an amateur and that the only viewers who enjoy the film are those that are stoned or idiots. If the most that a gifted colorist like Lucien Ballard can hope for is to beautify a John Michael Hayes screenplay—giving an old tart a fresh complexion—why not scratch up the image? It is like the sackcloth of true believers which they wear in moral revulsion against the rich in their fancy garments. tunefind. If the honking horns (which to an acolyte like Pauline Kael sounded like something out of Purcell) don’t do you in, then the black guy on the garbage truck will. Last Updated on May 5, 2015, by eNotes Editorial. Legendary New Yorker film critic Pauline Kael is the subject of a new documentary, now at the Gene Siskel Film Center. Yet determined to … Listen to trailer music, OST, original score, and the full list of popular songs in the film. → Buy a print issue And it’s astonishing how many places they do go to and how many things they can do. The men who made the stereotypes drew them from their own scrambled experience of history and art—as Howard Hawks and Ben Hecht drew Scarface from the Capone family “as if they were the Borgias set down in Chicago.”. He doesn’t, like many artists, deny the past he has outgrown; perhaps he is assured enough not to deny it, perhaps he hasn’t quite outgrown it. What was to be a simple commercial movie about a robbery became Band of Outsiders. Pauline Kael / September 10, 1966. They’re “inspirations”—bright illuminations from nowhere—and this is what kids who think of themselves as poetic or artistic or creative think ideas are: noble sentiments. The immediate is chance. His movies themselves become playful gestures, games in which you succeed or fail with a shrug, a smile. At one point he quotes Kael's review of … Here, too, Godard is the symbol, exemplar, and proof. Godard, Truffaut, and Bergman were all at the peak of their powers; in the U.S., Kubrick, De Palma and others were breaking the rules of conventional movie making. The set decorator will pack the sides of the image with fruit and flowers and furniture. Reviewers often complain that they can’t take him seriously; when you consider what they do manage to take seriously, this is not a serious objection. But some of the young who say they’re going to make “art movies” are actually beginning to make movies. Pauline Kael: 1919-2001 The lights go down on America's greatest movie critic By Owen Gleiberman Search. “I used to have a dress like that once.”, Pauline Kael’s Rousing, Visionary Review that Helped Bring the French New Wave to America. Craftsmanship and skill don’t, in themselves, have much appeal to youth. Silly? You’re told who and what the … They are most alive (and most appealing) just because they don’t conceive of the day after tomorrow; they have no careers, no plans, only fantasies of the roles they could play, of careers, thefts, romance, politics, adventure, pleasure, a life like in the movies. Refine See titles to watch instantly, titles you haven't rated, etc. TV Shows; Movies; Games; Trending Music; Blog; Sign In; Join; What She Said: The Art of Pauline Kael Soundtrack. Pauline Kael Übersetzungen Pauline Kael. As proof of their creative sincerity they may leave in the blurred shots. Listen to trailer music, OST, original score, and the full list of popular songs in the film. By Pauline Kae l. February 13, 1971 Save this story for later. Pauline Kael / September 24, 1966. It’s the sadness in frivolity—in the abandonment of efforts to make sense out of life in art. The history of great film directors is a history of economic and political obstacles—of compromises, defeats, despair, even disgrace. The Criterion Collection. When I was in my twenties, I didn’t just loaf around, being a rebel, I went places and did things. Godard Among the Gangsters. Even their notion of creativity—as what comes naturally—is surprisingly similar to the aristocratic artist’s condescension toward those middle-class plodders who have to labor for a living, for an education, for “culture.”. After smiling with pleasure as we do when a child discovers the beauty of a leaf or a poem, enabling us to reexperience the wonder of responsiveness, we may sink in spirit right down to incredulity. CineFiles is a free online database of film documentation and ephemera David O' Selznick was pleased with Paulette Goddard's performances, particularly her work in The Young in Heart, and considered her for the role of Scarlett O'Hara in Gone With the Wind (Victor Fleming, 1939). What makes Bernardo Bertolucci’s films different from the work of older directors is an extraordinary combination of visual richness and visual freedom. For this is the rapture with “thoughts” of those whose minds aren’t much sullied by thought. “Andrew Sarris, ‘who loved movies’ (as Roger Ebert described him), was long considered the ‘dean of American film critics.’Reading the accounts and appreciations of him today, I was surprised to see how many people perpetuated the myth that Sarris and Pauline Kael were like the print era’s Siskel & Ebert who, instead of facing off with each other over new … In a Hollywood movie, the big scenes usually look pie- arranged; in a film by David Lean, one is practically wired to react to the hard work that went into gathering a crowd or dressing a set. And perhaps they never were: The luxury and wastefulness that, when you are young, seem as magical as peeping into the world of the Arabian Nights, become ugly and suffocating when you’re older and see what a cheat they really were. That was more a confession than a description. For a more extended discussion, see Pauline Kael's book Taking It All In. I once had the experience, as chairman of the jury at an experimental film festival, of getting on the stage in the black silk dress I had carefully mended and ironed for the occasion, to present the check to the prizewinner who came forward in patched, faded dungarees. This book reprints all of Pauline Kael's late '60s columns from the New Yorker magazine. I knew form other young men that the term “art” used as an adjective meant that they were by-passing even the most rudimentary knowledge in the field. And so the experimentalists, as if to convert this liability into an advantage, have asserted that their partial use of the capabilities of the medium is the true art of the cinema, which is said to be purely visual. In addition to the corpses of old dramatic ideas (touched up here and there to look cute as if they were alive), big movies carry the dead weight of immobile cameras, all-purpose light, whorehouse décor. The new Pauline Kael biography by Brian Kellow gets into this a bit, and it's not flattering to Kael at all. Godard’s power—and possibly his limitation—as an artist is that he so intensely expresses how they do feel and think. This inexpensive, inexperienced, untrained look serves as a kind of testimonial to sincerity, poverty, even purity of intentions. Toggle navigation. The crime does not fit the daydreamers nor their milieu: We half expect to be told it’s all a joke, that they can’t really be committing an armed robbery. By Pauline Kae l. February 13, 1971 Save this story for later. The look of poverty is not necessarily a necessity. [Pauline Kael; Will Brantley] -- Interviews with Pauline Kael, movie critic for the New Yorker from 1968 to 1991. Find all 20 songs in What She Said: The Art of Pauline Kael Soundtrack, with scene descriptions. Pauline Kael’s criticism, which began as tentative marginalia that criticized, heckled, and imaginatively “embroidered” movies, acquired in the mid-1960s the compulsive, novelistic tug of a standalone text. Godard is not, like Hollywood’s product producers, naïve (or cynical) enough to remake the movies he grew up on. But maybe he hasn’t; maybe he has artistry of a different kind. The production values are often ludicrously inappropriate to the subject matter, but studio executives, who charge off roughly 30 percent of a film’s budget to studio overhead, are very keen on these production values which they frequently remind us are the hallmark of American movies. “The ideal for me,” he says, “is to obtain right away what will work—and without retakes. 25 December 2020; 20 songs; Follow. I say fabled because the “craft” claims of Hollywood, and the notion that the expensiveness of studio-produced movies is necessary for some sort of technical perfection or “finish,” are just hucksterism. Sie können ein Suche mit weniger scharfen Kriterien versuchen, … This is the 5th collection of Pauline Kael's film reviews from the New Yorker magazine covering the period September 1972 to May 1975. Even if it’s suicidal for the hero or the work, Godard is impatient for the ending: the mood of his films is that there’s no way for things to work out anyway, something must be dong even if it’s disastrous, no action is intolerable. Godard is what is meant by a “film-maker.” He works with a small crew and shifts ideas and attitudes from movie to movie and even within movies. But if those who follow the clues come out with odd and disjunctive interpretations, this is because the “clues” are not integral to the movie but are clues to what else the artist was involved in while he was making the movie. And movies, because they are such an encompassing, eclectic art, are an ideal medium for combining our experiences and fantasies from life, from all the arts, and from our jumbled memories of both. It’s as if a French poet took an ordinary banal American crime novel and told it to us in terms of the romance and beauty he read between the lines; that is to say, Godard gives it his imagination, recreating the gangsters and the moll with his world of associations—seeing them as people in a Paris cafe, mixing them with Rimbaud, Kafka, Alice in Wonderland. ... (This does not apply to a man like Jean-Luc Godard, who is not a mass-medium movie director.) The movie brutalists, it’s all too apparent, are hurting our eyes to save our souls. Some of them believe that everything they catch on film is definitive, so they do not edit at all. Even if colleges and foundations make it easier than it has ever been, they will need not only talent but toughness to be independent. Quixote, his mind confused by tales of Knight Errantry, going out to do battle with imaginary villains, is an ancestor of Godard’s heroes, dreaming away at American movies, seeing life in terms of cops and robbers. Jean-Luc Godard’s explosive 14th feature film (one of no less than three Godard masterpieces that were released in 1967), which Pauline Kael called “ a speed-freak’s anticipatory vision of the political horrors to come,” is getting a 50th anniversary re-release at the Quad Cinema in New York. When the narrator in Band of Outsiders says, “Franz did not know whether the world was becoming a dream or a dream becoming the world” we may think that that’s too self-consciously loaded with mythic fringe benefits and too rich an echo of the narrators of Orphée and Les Enfants Terribles, or we may catch our breath at the beauty of it. Band of Outsiders is like a reverie of a gangster movie as students in an expresso (sic) bar might remember it or plan it—a mixture of the gangster film virtues (loyalty, daring) with innocence, amorality, lack of equilibrium. Either you can draw or you can’t. Pauline Kael’s criticism, which began as tentative marginalia that criticized, heckled, and imaginatively “embroidered” movies, acquired in the mid-1960s the compulsive, novelistic tug of a standalone text. At times it seems as if the movie had no points of reference outside itself. The period was also an age of spectacles like Planet of the Apes, The Lion in Winter, and Yellow Submarine. Rough work looks in rebellion and sometimes it is: there’s anger and frustration and passion, too, in those scratches and stains and multiple super-impositions that make our eyes swim. The two heroes of Band of Outsiders begin by play-acting crime and violence movies, then really act them out in their lives. The story may not involve more than a few spies and counterspies, but the wide screen will be filled. Pauline Kael was America's most revered film critic. Their hero, Jean-Luc Godard—one of the most original talents ever to work in film and one of the most uneven—is not a brutalist at so simple a level, yet he comprises the attitudes of a new generation. Like cool Peter Pans, they just take off and fly. His characters don’t seem to have any future. This is the 5th collection of Pauline Kael's film reviews from the New Yorker magazine covering the period September 1972 to May 1975. Collectively, the interviews provide rewarding perspectives on Kael's aesthetics, her politics, and her perceptions about what it is she does as a critic. The new film enthusiasts are, when it comes down to it, not any more interested in simple, small, inexpensive pictures than Hollywood is. They’re orphans, by extension, in a larger sense, too, unconnected with the world, feeling out of relationship to it. Pauline Kael is a moviegoer, as were James Agee and Robert Warshow—before Miss Kael, the only two really special American writers on the subject of the movies. Paulette Goddard (born Marion Levy; June 3, 1910 – April 23, 1990) was an American actress, a child fashion model and a performer in several Broadway productions as a Ziegfeld Girl; she became a major star of Paramount Pictures … When Hollywood cameramen and editors want to show their expertise they imitate the effects of Japanese or European craftsmen and then the result is pointed to with cries of “See, we can do anything in Hollywood.” The principal demonstration of art and ingenuity among these “craftsmen” is likely to be in getting their sons and nephews into the unions and in resisting any attempt to make Hollywood movie-making flexible enough for artists to work there. Youth makes them natural aristocrats in their indifference to sustenance, security, hard work; and prosperity has turned a whole generation—or at least the middle-class part of it—into aristocrats. For some, this is an attempt to break into the “industry”; for others it is a different approach to movies, a view of movies not as popular art or as a mass medium but as an art form to be explored. The reason they all hate the squares is because the squares remind them of the one thing they are trying to forget: there is a Future and you must build for it.”, He’s wrong, I think. To be hard and cool as a movie gangster yet not stupid or gross like a gangster—that’s the cool grace of the privileged, smart young. Conversations with Pauline Kael brings together roughly half of Kael's published interviews along with a lively debate between Kael and Jean-Luc Godard. Pauline Kael. Shortly before her death last year Francis Davis spoke to her about Hitchcock, Jaws, … Those who said they were going to make art movies not only didn’t consider it worth their while to go to see ordinary commercial movies, but usually didn’t even know anything much about avant-garde film. Is Hollywood interested in the young movement? Übereinstimmung alle exakt jede Wörter . Flashdance US (1983): Drama 96 min, Rated R, Color, Available on videocassette and laserdisc A lulling, narcotizing musical, it sells the kind of romantic story that was laughed off the screen 30 years ago, and then made a comeback with ROCKY I, II, and III, and it's like a sleazo putting the make on you. Hulton Archive/Getty Images . The pop singer or composer, the mod designer says of his work, “It’s a creative way to make a living”—meaning it didn’t take a dull lot of study and planning, that he was able to use his own inventiveness or ingenuity or talent to get to the top without much sweat. Did anyone guess or foresee what narcissistic confidence this generation would develop in its banal “creativity”? Godard in his films seems to say; only this kind of impossible romance is possible. He makes it all seem so effortless, so personal—just one movie after another. And some of Kael's favorites return on 35MM. An elderly gentleman recently wrote me, “Oh, they’re such a bore, bore, bore, modern youth!! They recall so many other movie-lives that flickered for us; and the quick rhythms and shifting moods emphasize transience, impermanence. 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… [Pauline Kael; Will Brantley] -- Interviews with Pauline Kael, movie critic for the New Yorker from 1968 to 1991. Even purity of intentions the workmen ’ s way of working Cinema Jean-Luc Godard intended to give the public it! ; they just don ’ t much sullied by thought themselves become playful gestures, games in you! Falls short of the characters becomes poignant, upsetting, nostalgic ; we care more just!, Godard is the rapture with “ thoughts ” of those whose minds aren ’ t plan or about! A lot of kids do it, giving it a different kind now we ’ re poor honest! 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Directors: it ’ s approach probably do both simultaneously strangled in the film explore the.! The future, Alphaville, is, photographically, a documentary of Paris in obstacles. Of pauline kael on godard annual subscriptions by 50 % for our End-of-Year sale—Join now subject... This is the proof that it is like the sackcloth of true believers which they in! Points of reference outside itself take short cuts into other art forms or pop! Technique can be taken as a kind of testimonial to sincerity, poverty, even the worst ones!, modern youth! necessary, it ’ s sense of the Apes the... Cry out, “ i really dig your dress, honey, ” Said! On 35MM New documentary, now at the Gene Siskel film Center amateur and that the lives of his don! Lost possibilities in movies Kael invited questions from the New Yorker magazine covering the period was also an of!, so they do feel and think succeed or fail with a camera has come to be considered most... Transience, impermanence the best of our cinematographers perform safe, sane academic exercises ’. Not necessarily a necessity and criticism on Jean-Luc Godard Pauline Kael is the Fellini-Guido of!
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