“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.”

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

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Pauline Kael72

American film critic 1919–2001

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“I always love it when people write me and say "I was having a rotten time, and I walked into a cinema and saw one of your movies, and it made such a difference."”

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Context: People associate me with a time when movies were pleasant, when women wore pretty dresses in films and you heard beautiful music. I always love it when people write me and say "I was having a rotten time, and I walked into a cinema and saw one of your movies, and it made such a difference."

“It's the kind of movie where you ask people how they liked it, and they say, "Well, it was well made," and then they wince.”

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“People associate me with a time when movies were pleasant, when women wore pretty dresses in films and you heard beautiful music. I always love it when people write me and say "I was having a rotten time, and I walked into a cinema and saw one of your movies, and it made such a difference."”

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“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?”

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