Pauline Kael: Quotes about people

Pauline Kael was American film critic. Explore interesting quotes on people.
Pauline Kael: 144 quotes5 likes

“I still don't look at movies twice. It's funny, I just feel I got it the first time. With music it's different. People respond so differently to the whole issue of seeing a movie many times. I'm astonished when I talk to really good critics, who know their stuff and will see a film eight or ten or twelve times. I don't see how they can do it without hating the movie. I would.”

Pauline Kael

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

“It would be very convincing to say that there’s no hope for movies — that audiences have been so corrupted by television and have become so jaded that all they want are noisy thrills and dumb jokes and images that move along in an undemanding way, so they can sit and react at the simplest motor level. And there’s plenty of evidence, such as the success of Alien. This was a haunted-house-with-gorilla picture set in outer space. It reached out, grabbed you, and squeezed your stomach; it was more gripping than entertaining, but a lot of people didn’t mind. They thought it was terrific, because at least they’d felt something: they’d been brutalized. It was like an entertainment contrived in Aldous Huxley’s Brave New World by the Professor of Feelies in the College of Emotional Engineering.”

Pauline Kael

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

“People who are just getting "seriously interested" in film always ask a critic, "Why don’t you talk about technique and 'the visuals' more?" The answer is that American movie technique is generally more like technology and it usually isn’t very interesting.”

Pauline Kael book Going Steady

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

“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)

“The critical task is necessarily comparative, and younger people do not truly know what is new.”

Pauline Kael book Going Steady

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

“At the movies, we are gradually being conditioned to accept violence as a sensual pleasure. The directors used to say they were showing us its real face and how ugly it was in order to sensitize us to its horrors. You don't have to be very keen to see that they are now in fact desensitizing us. They are saying that everyone is brutal, and the heroes must be as brutal as the villains or they turn into fools. There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. But this would deny those of us who don't believe in censorship the use of the only counterbalance: the freedom of the press to say that there's anything conceivably damaging in these films — the freedom to analyze their implications. If we don't use this critical freedom, we are implicitly saying that no brutality is too much for us — that only squares and people who believe in censorship are concerned with brutality. Actually, those who believe in censorship are primarily concerned with sex, and they generally worry about violence only when it's eroticized. This means that practically no one raises the issue of the possible cumulative effects of movie brutality. Yet surely, when night after night atrocities are served up to us as entertainment, it's worth some anxiety. We become clockwork oranges if we accept all this pop culture without asking what's in it. How can people go on talking about the dazzling brilliance of movies and not notice that the directors are sucking up to the thugs in the audience?”

Pauline Kael book Deeper into Movies

&quot;Stanley Strangelove&quot; (January 1972) http://www.visual-memory.co.uk/amk/doc/0051.html, review of A Clockwork Orange <br class="br">Deeper into Movies (1973)

“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.

“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)

“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)

“Watching old movies is like spending an evening with those people next door. They bore us, and we wouldn't go out of our way to see them; we drop in on them because they're so close. If it took some effort to see old movies, we might try to find out which were the good ones, and if people saw only the good ones maybe they would still respect old movies. As it is, people sit and watch movies that audiences walked out on thirty years ago. Like Lot's wife, we are tempted to take another look, attracted not by evil but by something that seems much more shameful — our own innocence.”

Pauline Kael book Kiss Kiss Bang Bang

"Movies on Television".
Kiss Kiss Bang Bang (1968)

“Moviegoers like to believe that those they have made stars are great actors. People used to say that Gary Cooper was a fine actor — probably because when they looked in his face they were ready to give him their power of attorney.”

Pauline Kael book Movie Love

"Potency," review of Born on the Fourth of July (1990-01-22), p. 254.
Movie Love (1991)