Pauline Kael Quotes

118 Sourced Quotes

Earlier generations went to see what was forbidden in life and developed a real excitement about the movies. Today's rating system keeps kids out of the good ones. I wouldn't want them to see movies like Natural Born Killers, but my tendency is you're better off seeing things than not. That glazed indifference kids develop can be worse than over-excitement.

Pauline Kael
The movie [Song of Norway] is of an unbelievable badness; it brings back clichés you didn't know you knew — they're practically from the unconscious of moviegoers. You can't get angry at something this stupefying; it seems to have been made by trolls.

Pauline Kael
The problem with a popular art form is that those who want something more are in a hopeless minority compared with the millions who are always seeing it for the first time, or for the reassurance and gratification of seeing the conventions fulfilled again.

Pauline Kael
In a foreign country people don't expect you to be just like them, but in Los Angeles, which is infiltrating the world, they don't consider that you might be different because they don't recognize any values except their own. And soon there may not be any others.

Pauline Kael
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
It tackles a wonderful subject without preening, and brings it off unassertively — so unassertively that the movie is in danger of being overlooked. (Variety has already dismissed it as something "for a very limited audience.") We're getting to the point where the press assumes that movie audiences won't be willing to bring anything to a picture, and warns them off.

Pauline Kael
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
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
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
Apparently, Lillian Hellman couldn't shake off the predatory Hubbards after "The Little Foxes"; she wrote this play about the same family, setting it back 30 years earlier in their dark history. The Hubbards, who are supposed to be rising Southern capitalists, are the greatest collection of ghouls since "The Old Dark House" of 1932. Hellman must combine witchcraft with stagecraft — who else could keep a plot in motion with lost documents, wills, poisonings, and pistols, and still be considered a social thinker?

Pauline Kael
Regrettably, one of the surest signs of the Philistine is his reverence for the superior tastes of those who put him down.

Pauline Kael
Charles Laughton is superbly vulgar in this whack at the backside of Victorianism. He makes a great vaudeville turn out of the role of an egocentric scoundrel, the prosperous bootmaker who doesn't want to part with his three marriageable daughters because they are too useful as unpaid labor. As the oldest daughter, the spinster in spite of herself, Brenda de Banzie is so "right" that when she marries her father's best workman and puts belching, drunken old Dad out of business, one feels the good old-fashioned impulse to applaud.

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

Pauline Kael
De Mille's bang-them-on-the-head-with-wild-orgies-and-imperilled-virginity style is at its ripest; the film is just about irresistible.

Pauline Kael
We will never know the extent of the damage movies are doing to us, but movie art, it appears, thrives on moral chaos. When the country is paralyzed, the popular culture may tell us why. After innocence, winners become losers. Movies are probably inuring us to corruption; the sellout is the hero-survivor for our times.

Pauline Kael
The past has a terror and fascination and a beauty beyond almost anything else. We are looking at the dead, and they move and grin and wave at us; it's an almost unbearable experience. When our wonder or our grief are interrupted or followed by a commercial, we want to destroy the ugly box. Old movies don't tear us apart like that. They do something else, which we can take more of and take more easily; they give us a sense of the passage of life. Here is Elizabeth Taylor as a plump matron and here, an hour later, as an exquisite child.

Pauline Kael
Men are now beginning their careers as directors by working on commercials — which, if one cares to speculate on it, may be almost a one-sentence résumé of the future of American motion pictures.

Pauline Kael
It is a depressing fact that Americans tend to confuse morality and art (to the detriment of both) and that, among the educated, morality tends to mean social consciousness.

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

Pauline Kael
All our advertising is propaganda, of course, but it has become so much a part of our life, is so pervasive, that we just don't know what it is propaganda for.

Pauline Kael
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
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
For perhaps most Americans, TV is an appliance, not to be used selectively but to be turned on — there's always something to watch.

Pauline Kael
The action genre has always had a fascist potential, and it surfaces in this movie.

Pauline Kael
Television as we have it isn't an art form — it's a piece of furniture that is good for a few things.

Pauline Kael
Movies make hash of the schoolmarm's approach of how well the artist fulfilled his intentions. Whatever the original intention of the writers and director, it is usually supplanted, as the production gets under way, by the intention to make money — and the industry judges the film by how well it fulfills that intention. But if you could see the "artist's intentions" you'd probably wish you couldn't anyway. Nothing is so deathly to enjoyment as the relentless march of a movie to fulfill its obvious purpose. This is, indeed, almost a defining characteristic of the hack director, as distinguished from an artist.

Pauline Kael
I believe that we respond most and best to work in any art form (and to other experience as well) if we are pluralistic, flexible, relative in our judgments, if we are eclectic.

Pauline Kael
Hilariously florid — sometimes referred to as "Lust in the Dust." This Wagnerian western features Gregory Peck and Jennifer Jones as lovers so passionate they kill each other. She's Pearl Chavez, a half-breed wench, and so, by Hollywood convention, uncontrollably sexy, and Peck actually manages to bestir himself enough to play a hunk of egotistical hot stuff — maybe the name Lewt McCanles got to him, or maybe the producer, David O. Selznick, used electric prods. Peck clangs his spurs and leers, while Jones heaves her chest; when they kiss, lightning blazes.

Pauline Kael