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Pauline Kael Quotes
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A mistake in judgment isn't fatal, but too much anxiety about judgment is.
Pauline Kael
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In the arts, the critic is the only independent source of information. The rest is advertising.
Pauline Kael
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It seems likely that many of the young who don't wait for others to call them artists, but simply announce that they are, don't have the patience to make art.
Pauline Kael
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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
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The first prerogative of an artist in any medium is to make a fool of himself.
Pauline Kael
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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
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Meryl Streep just about always seems miscast. (She makes a career out of seeming to overcome being miscast.)
Pauline Kael
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The worst thing about movie-making is that it's like life: nobody can go back to correct the mistakes.
Pauline Kael
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There is a dreadful discrepancy between Michelangelo's works and the words put into the mouth of Charlton Heston, who represents him here, and this picture — which is mostly about a prolonged wrangle between the sculptor and Pope Julius II (Rex Harrison), who keeps sweeping into the Sistine Chapel and barking, "When will you make an end of it?" — isn't believable for an instant.
Pauline Kael
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There is, in any art, a tendency to turn one's own preferences into a monomaniac theory.
Pauline Kael
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Writers who go to Hollywood still follow the classic pattern: either you get disgusted by 'them' and you leave or you want the money and you become them.
Pauline Kael
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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
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Being able to talk about movies with someone—to share the giddy high excitement you feel—is enough for a friendship.
Pauline Kael
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It's an ugly, stupid instant movie [You Are What You Eat] made by people who substitute promotion for talent and technique. It's the aesthetic equivalent of mugging the audience.
Pauline Kael
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Movies that are consciously life-affirming are to be consciously avoided.
Pauline Kael
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Movies are our cheap and easy expression, the sullen art of displaced persons.
Pauline Kael
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Really, it's not people who don't understand us who drive us nuts—it's when those who shouldn't, do.
Pauline Kael
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If you're afraid of movies that excite your senses, you're afraid of movies.
Pauline Kael
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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.
Pauline Kael
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The Night Porter is said to be a runaway hit in Italy and France and to have made a big star of Charlotte Rampling, but surely one twinkle doesn't make a star.
Pauline Kael
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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
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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
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Kicked in the ribs, the press says "art" when "ouch" would be more appropriate.
Pauline Kael
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Movies have been doing so much of the same thing — in slightly different ways — for so long that few of the possibilities of this great hybrid art have yet been explored.
Pauline Kael
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Audiences who have been forced to wade through the thick middle-class padding of more expensively made movies to get to the action enjoy the nose-thumbing at "good taste" of cheap movies that stick to the raw materials. At some basic level they like the pictures to be cheaply done, they enjoy the crudeness; it's a breather, a vacation from proper behavior and good taste and required responses. Patrons of burlesque applaud politely for the graceful erotic dancer but go wild for the lewd lummox who bangs her big hips around. That's what they go to burlesque for.
Pauline Kael
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I'm frequently asked why I don't write my memoirs. I think I have.
Pauline Kael
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One of the biggest box-office successes in movie history — probably because for young audiences it's like getting a box of Cracker Jack that is all prizes. Written and directed by George Lucas, the film is enjoyable in its own terms, but it's exhausting, too: like taking a pack of kids to the circus. There's no breather in the picture, no lyricism; the only attempt at beauty is in the image of a double sunset. The loudness, the smash-and-grab editing, and the relentless pacing drive every idea out of your head, and even if you've been entertained, you may feel cheated of some dimension — a sense of wonder, perhaps. It's an epic without a dream.
Pauline Kael
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To lambaste a Ross Hunter production is like flogging a sponge.
Pauline Kael
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Moviemaking is so male-dominated now that they think they're being pro-feminine when they have women punching each other out.
Pauline Kael
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Goodman:
Imitation is the sincerest form of flattery.
Kael:
I hate it. It is very creepy being imitated.
Pauline Kael
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Quote of the day
A blow with a word strikes deeper than a blow with a sword.
Robert Burton
Pauline Kael
Born:
June 19, 1919
Died:
September 3, 2001
(aged 82)
Bio:
Pauline Kael was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. Earlier in her career, her work appeared in City Lights, McCall's and The New Republic.
Known for:
I Lost It at the Movies (1965)
Kiss Kiss Bang Bang (1968)
Reeling (1976)
Deeper into Movies (1973)
Going Steady (1970)
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