Pauline Kael - Life Quotes

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For some moviegoers, movies probably contribute to that self-defeating romanticizing of expectations which makes life a series of disappointments. They watch the same movies over and over on television, as if they were constantly returning to the scene of the crime—the life they were so busy dreaming about that they never lived it.

Pauline Kael
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 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
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
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
Movies that are consciously life-affirming are to be consciously avoided.

Pauline Kael
The worst thing about movie-making is that it's like life: nobody can go back to correct the mistakes.

Pauline Kael
De Niro's inflamed, brimming eyes are the focal point of the compositions. He's Travis Bickle, an outsider who can't find any point of entry into human society. He drives nights because he can't sleep anyway; surrounded by the night world of the uprooted — whores, pimps, transients — he hates New York with a Biblical fury, and its filth and smut obsess him. This ferociously powerful film is like a raw, tabloid version of Notes from the Underground. Martin Scorsese achieves the quality of trance in some scenes, and the whole movie has a sense of vertigo. The cinematographer, Michael Chapman, gives the street life a seamy, rich pulpiness.

Pauline Kael