Word: kael
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Amoral Charm. The U.S. distributor, United Artists, has allowed only one carefully timed public screening in the States-on the final night of the New York Film Festival in October. "That date," wrote Critic Pauline Kael in The New Yorker, "should become a landmark in movie history comparable to May 29, 1913-the night Le Sacre du Printemps was first performed-in music history. [Tango has] altered the face of an art form. This is a movie people will be arguing about for as long as there are movies." United Artists recently reprinted the whole of Kael's extraordinary...
...already starring, One-Eyed Jacks (thereby doubling the budget and schedule), he had announced that "acting is a bum's life. Quitting acting is the mark of maturity." After the Bounty fiasco, there were those who were ready to agree with him. In a 1966 article, Pauline Kael lamented that Brando had lapsed, like John Barrymore before him, into a "self-parodying comedian...
...Brando's campaigns and retreats, his flops and public excoriations, the actor prevailed. In his worst films, his performances often had more power, depth or freshness than the vehicles deserved, and even his failures had a way of being more interesting than other people's successes. Pauline Kael's dismissal notwithstanding, Brando's colleagues by and large have defended him. "When Brando is allegedly difficult," says Director-Actor John Cassavetes, "it's because he is unsatisfied, often justifiably, with some aspect of the project he's on-the director, the script or whatever...
...starts at the movies. The furor over violence in movies reached its crescendo with A Clockwork Orange, but it started with Peckinpah's Wild Bunch, and no discussion of cinematic fascism is complete without Straw Dogs. At the beginning of the year came the realization, by Pauline Kael and others, that the movies had begun to pipe fascism into the mind of Joe Moviegoer. That the primitive, unquestionably macho preachings of Peckinpah and Kubrick, as well as the less subtle portrayal of Dirty Harry Kellerman by Don Siegel, depicted a cultural regression...
...Pauline Kael, LL.D., film critic, The New Yorker. Like Godard with his guillotine lens, she writes with an often acerbic pen, cutting through the can of films that threaten to dehumanize us. William McC. Martin Jr., LL.D., former Federal Reserve Board chairman...