Pauline Kael: Quotes about art

Pauline Kael was American film critic. Explore interesting quotes on art.

Pauline Kael: 144 quotes5 likes

“In the arts, the critic is the only independent source of information. The rest is advertising.”

Newsweek (1973-12-24).

“Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize.”

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

“Movies are so rarely great art, that if we cannot appreciate great trash, we have very little reason to be interested in them.”

Pauline Kael book Going Steady

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

“I see little of more importance to the future of our country and of civilization than full recognition of the place of the artist. If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him.”

Pauline Kael

John F. Kennedy, address at the dedication of the Robert Frost Library, Amherst College, Amherst, Massachusetts (1963-10-26).
Misattributed

“The craftsmanship that Hollywood has always used as a selling point not only doesn’t have much to do with art — the expressive use of techniques — it probably doesn’t have very much to do with actual box-office appeal, either.”

Pauline Kael book Going Steady

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

“I regard criticism as an art, and if in this country and in this age it is practiced with honesty, it is no more remunerative than the work of an avant-garde film artist. My dear anonymous letter writers, if you think it is so easy to be a critic, so difficult to be a poet or a painter or film experimenter, may I suggest you try both? You may discover why there are so few critics, so many poets.”

Pauline Kael

"Replying to Listeners" http://www.paulrossen.com/paulinekael/replylisteners.html, broadcast on KPFA (January 1963).

“In movies, the balance between art and business has always been precarious, with business outweighing art, but the business was, at least, in the hands of businessmen who loved movies. As popular entertainment, movies need something of what the vulgarian moguls had — zest, a belief in their own instincts, a sentimental dedication to producing pictures that would make their country proud of their contribution, a respect for quality, and the biggest thing: a willingness to take chances. The cool managerial sharks don’t have that; neither do the academics. But the vulgarians also did more than their share of damage, and they’re gone forever anyway. They were part of a different America. They were, more often than not, men who paid only lip service to high ideals, while gouging everyone for profits. The big change in the country is reflected in the fact that people in the movie business no longer feel it necessary to talk about principles at all.”

Pauline Kael

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

“In the sixties, the recycling of pop culture — turning it into Pop art and camp — had its own satirical zest. Now we're into a different kind of recycling. Moviemakers give movies of the past an authority that those movies didn't have; they inflate images that may never have compelled belief, images that were no more than shorthand gestures — and they use them not as larger-than-life jokes but as altars.”

Pauline Kael book State of the Art

"A Bad Dream/A Masterpiece," review of The Moon in the Gutter (1983-09-19), p. 48.
State of the Art (1985)

“The recurrence of certain themes in movies suggests that each generation wants romance restated in slightly new terms, and of course it’s one of the pleasures of movies as a popular art that they can answer this need. And yet, and yet — one doesn’t expect an educated generation to be so soft on itself, much softer than the factory workers of the past who didn’t go back over and over to the same movies, mooning away in fixation on themselves and thinking this fixation meant movies had suddenly become an art, and their art.”

Pauline Kael book Going Steady

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

“I loved writing about things when I was excited about them. It's not fun writing about bad movies. I used to think it was bad for my skin. It's painful writing about the bad things in an art form, particularly when young kids are going to be enthusiastic about those things, because they haven't seen anything better, or anything different.”

Pauline Kael

Quoted in Francis Davis, Afterglow: A Last Conversation with Pauline Kael (Da Capo, 2003, ISBN 0-306-81230-4).

“And for the greatest movie artists where there is a unity of technique and subject, one doesn’t need to talk about technique much because it has been subsumed in the art. One doesn’t want to talk about how Tolstoi got his effects but about the work itself. One doesn’t want to talk about how Jean Renoir does it; one wants to talk about what he has done. One can try to separate it all out, of course, distinguish form and content for purposes of analysis. But that is a secondary, analytic function, a scholarly function, and hardly needs to be done explicitly in criticism. Taking it apart is far less important than trying to see it whole. The critic shouldn’t need to tear a work apart to demonstrate that he knows how it was put together. The important thing is to convey what is new and beautiful in the work, not how it was made — which is more or less implicit.”

Pauline Kael book Going Steady

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

“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)

“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)

“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.

“Picasso has a volatile, explosive presence. He seems to take art back to an earlier function, before the centuries of museums and masterpieces; he is the artist as clown, as conjurer, as master funmaker.”

Pauline Kael

"Le Mystère Picasso," p. 511.
5001 Nights at the Movies (1982)

“If we make any kind of decent, useful life for ourselves we have less need to run from it to those diminishing pleasures of the movies. When we go to the movies we want something good, something sustained, we don’t want to settle for just a bit of something, because we have other things to do. If life at home is more interesting, why go to the movies? And the theatres frequented by true moviegoers — those perennial displaced persons in each city, the loners and the losers — depress us. Listening to them — and they are often more audible than the sound track — as they cheer the cons and jeer the cops, we may still share their disaffection, but it’s not enough to keep us interested in cops and robbers. A little nose-thumbing isn’t enough. If we’ve grown up at the movies we know that good work is continuous not with the academic, respectable tradition but with the glimpses of something good in trash, but we want the subversive gesture carried to the domain of discovery. Trash has given us an appetite for art.”

Pauline Kael book Going Steady

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