Word: kael
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...some old pros and inchoate apprentices to strive hysterically for a "look": more specifically, a "now" look. From his work, I assume that Clavell would think even the serious theories to be so much drivel. I don't know if I'd call him a "good storyteller" as Pauline Kael did, but that is precisely what he intends to be, and at times he is successful. He is crude in the sense that a Michael Curtiz or Roaul Walsh was crude, aiming for direct actions which are emotionally arousing but possess a sort of integrity: they don't score moral...
...Kael [the New Yorker critic], Morgenstern [ Newsweek ] and Hollis Alpert [ Saturday Review ] were all in one room in New York watching the picture last night. I nearly had a heart attack..." He started to lean over, his eyes bright and watery: "Is that a banana split or isn't it?" He paused and looked down at his feet, then looked up and said, in imitation of the manner of Busby Berkeley heroes: "Man, that's box office...
...polities and social reality) can often be fairly judged by the crates they keep. When Stanley Kauffman seizes on The Graduate as one of the most significant films ever made, you know something is amiss. Similarly when the press does chorus kicks for James Simon Kunen. Or when Pauline Kael hails Wild in the Streets. Scorecards or who likes what are less important when dealing with art works with little contemporary social content. Time thinks Persona is a masterpiece, but doesn't know why and it doesn't matter. But when film is discussed as the pleading voice of vouch...
...politics and social reality) can often be fairly judged by the critics they keep. When Stanley Kauffmann seizes on The Graduate as one of the most significant films ever made, you know something is amiss. Similarly when the press does chorus kicks for James Simon Kunen. Or when Pauline Kael hails Wild in the Streets. Scorecards of who likes what are less important when dealing with art works with little contemporary social content. Time thinks Persona is a masterpiece, but doesn't know why and it doesn't matter. But when film is discussed as the pleading voice of youth...
...accurate representation of life, another step towards "objectivity." The line between life and art was supposed to dissolve, and there would in the end be no difference between the way things were "out there" and their representation in the work of art. ". . . you get the impression," Pauline Kael has written, "that such cinema theorists think that Griffith shot The Birth of the Nation while the battles were raging, that Eisenstein was making newsreels, and that Rossellini and Bunuel were simply camera witnesses to scenes of extraordinary brutality...