Pauline Kael: Trending quotes

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Pauline Kael: 144 quotes5 likes

“This is a nature-boy movie, a kid's daydream of being an Indian. When Dunbar has become a Sioux named Dances with Wolves, he writes in his journal that he knows for the first time who he really is. Costner has feathers in his hair and feathers in his head.”

Pauline Kael book Movie Love

"New Age Daydreams," review of Dances with Wolves (1990-12-17), p. 295.
Movie Love (1991)

“The slender, swift Bruce Lee was the Fred Astaire of martial arts, and many of the fights that could be merely brutal come across as lightning-fast choreography.”

Pauline Kael

"Enter the Dragon," p. 221.
5001 Nights at the Movies (1982)

“Citizen Kane is perhaps the one American talking picture that seems as fresh now as the day it opened. It may seem even fresher.”

Pauline Kael

"Raising Kane" http://www.paulrossen.com/paulinekael/raisingkane.html, The New Yorker (1971-02-20 and 1971-02-27); reprinted in Kael's The Citizen Kane Book (1971).

“Kicked in the ribs, the press says "art" when "ouch" would be more appropriate.”

Pauline Kael book Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“The words "Kiss Kiss Bang Bang," which I saw on an Italian movie poster, are perhaps the briefest statement imaginable of the basic appeal of movies. This appeal is what attracts us, and ultimately what makes us despair when we begin to understand how seldom movies are more than this.”

Pauline Kael book Kiss Kiss Bang Bang

"A Note on the Title".
Kiss Kiss Bang Bang (1968)

“When you clean them up, when you make movies respectable, you kill them. The wellspring of their art, their greatness, is in not being respectable.”

Pauline Kael book Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“October 14, 1972: that date should become a landmark in movie history comparable to May 29, 1913 — the night Le Sacre du Printemps was first performed — in music history. There was no riot, and no one threw anything at the screen, but I think it’s fair to say that the audience was in a state of shock, because Last Tango in Paris has the same kind of hypnotic excitement as the Sacre, the same primitive force, and the same thrusting, jabbing eroticism. […] Bertolucci and Brando have altered the face of an art form. Who was prepared for that?”

Pauline Kael

From "The Current Cinema" http://www.criterion.com/current/posts/834-last-tango-in-paris. The New Yorker. October 28, 1972.

“For some strange reason we don't go to charming, light movies anymore. People expect a movie to be heavy and turgid, like "American Beauty." We've become a heavy-handed society.”

Pauline Kael

"The Perils of Being Pauline," interview with Francis Davis, The New Yorker (October 2001).
Interviews

“The conglomerate heads may be business geniuses, but as far as movies are concerned they have virgin instincts; ideas that are new to them and take them by storm may have failed grotesquely dozens of times. But they feel that they are creative people — how else could they have made so much money and be in a position to advise artists what to do? Who is to tell them no?”

Pauline Kael

Taking It All In (1983), Why Are Movies So Bad? Or, The Numbers (1980-06-23)

“People have expected less of movies and have been willing to settle for less. Some have even been willing to settle for Kramer vs. Kramer and other pictures that seem to be made for an audience of over-age flower children. These pictures express the belief that if a man cares about anything besides being at home with the kids, he’s corrupt. Parenting ennobles Dustin Hoffman and makes him a better person in every way, while in The Seduction of Joe Tynan we can see that Alan Alda is a weak, corruptible fellow because he wants to be President of the United States more than he wants to stay at home communing with his daughter about her adolescent miseries. Pictures like these should all end with the fathers and the children sitting at home watching TV together.”

Pauline Kael

Taking It All In (1983), Why Are Movies So Bad? Or, The Numbers (1980-06-23)

“Since I have an aversion to movies in which people say grace at the dinner table (not to the practice but to how movies use it to establish the moral strength of a household), the opening night montage of Sunday-night supper in one home after another in Waxahachie, Texas in 1935 — a whole community saying grace — made me expect the worst.”

Pauline Kael book State of the Art

"Mirrors," review of Places in the Heart (1984-10-15), p. 246.
State of the Art (1985)

“After one of those terrible lovers' quarrels that leave one in a state of incomprehensible despair. 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." 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. For if people cannot feel Shoeshine, what can they feel?… Later I learned that the man with whom I had quarreled had gone the same night and had also emerged in tears. Yet our tears for each other, and for Shoeshine did not bring us together. Life, as Shoeshine demonstrates, is too complex for facile endings.”

Pauline Kael

Review for Shoeshine (1946) as quoted in Sontag & Kael: Opposites Attract Me (2004) by Craig Seligman.

“The happiest screen collaboration of Elsa Lanchester and Charles Laughton — they're both wonderful — is in this adaptation of a Somerset Maugham story, "The Vessel of Wrath." It's set on an island in the Pacific, which Maugham calls Baru, and it's concerned with the efforts of the prim missionary (Lanchester) to reform the carnal, ribald beachcomber (Laughton). The situation is the reverse of that in Maugham's Sadie Thompson story, but with a light, comic tone. The Hepburn-Bogart "African Queen" probably took a few notions from it.”

Pauline Kael

"The Beachcomber," p. 56.
5001 Nights at the Movies (1982)

“[T]his film offers a nightmare image: the "Black Rebels," an outlaw motorcycle gang — a leather-jacketed pack who resemble storm troopers — terrorize a town. Their emblem is a death's head and crossed pistons and rods, and Marlon Brando, in his magnetic, soft-eyed youth, is their moody leader. The picture seemed to be frightened of its subject — the young nihilists who say "no" to American blandness and conformity — and reduced it as quickly as possible to the trivial meaninglessness of misunderstood boy meets understanding girl (Mary Murphy), but the audience savored the possibilities, and this clumsy, naive film was banned and argued about in so many countries that it developed a near-legendary status.”

Pauline Kael

"The Wild One," p. 838.
5001 Nights at the Movies (1982)

“TV executives think that the programs with the highest ratings are what TV viewers want, rather than what they settle for.”

Pauline Kael

Taking It All In (1983), Why Are Movies So Bad? Or, The Numbers (1980-06-23)

“Unlike storybook heroes and heroines but like many actual heroes and heroines, she was something of a social outcast. (As Simone Weil noted, it was the people with irregular and embarrassing histories who were often the heroes of the Resistance in the Second World War; the proper middle-class people may have felt they had too much to lose.)”

Pauline Kael book State of the Art

"Busybody," review of Silkwood (1984-01-09), p. 107.
State of the Art (1985)

“A mistake in judgment isn't fatal, but too much anxiety about judgment is.”

Pauline Kael

"Zeitgeist and Poltergeist; or, Are Movies Going to Pieces?" http://www.paulrossen.com/paulinekael/aremoviespieces.html (December 1964), from I Lost It at the Movies (1965).

“It's as if Brian de Palma were saying, "What is getting older if it isn't learning more ways that you're vulnerable?"”

Pauline Kael book Movie Love

Review of Casualties of War, p. 176.
Movie Love (1991)

“Is there something in druggy subjects that encourages directors to make imitation film noir? Film noir itself becomes an addiction.”

Pauline Kael book Hooked

"Drifters, Dopes and Dopers," review of 8 Million Ways to Die (1986-05-19), p. 156.
Hooked (1989)

“One’s moviegoing tastes and habits change — I still like in movies what I always liked but now, for example, I really want documentaries. After all the years of stale stupid acted-out stories, with less and less for me in them, I am desperate to know something, desperate for facts, for information, for faces of non-actors and for knowledge of how people live — for revelations, not for the little bits of show-business detail worked up for us by show-business minds who got them from the same movies we’re tired of.”

Pauline Kael book Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)