Pauline Kael - Movies Quotes

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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
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 movies have been so rank the last couple of years that when I see people lining up to buy tickets I sometimes think that the movies aren't drawing an audience - they're inheriting an audience. People just want to go to a movie. They're stung repeatedly, yet their desire for a good movie - for any movie - is so strong that all over the country they keep lining up.

Pauline Kael
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
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
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
Tasteful and colossal are — in movies, at least — basically antipathetic.

Pauline Kael
What's disgusting about the Dirty Harry movies is that Eastwood plays this angry tension as righteous indignation.

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
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 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
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
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
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
I loved writing about things when I was excited about them. It's not fun writing about bad movies. I used to think it was bad for my skin. It's painful writing about the bad things in an art form, particularly when young kids are going to be enthusiastic about those things, because they haven't seen anything better, or anything different.

Pauline Kael
Alienation is the most common state of the knowledgeable movie audience, and though it has the peculiar rewards of low connoisseurship, a miser's delight in small favors, we long to be surprised out of it — not to suspension of disbelief nor to a Brechtian kind of alienation, but to pleasure, something a man can call good without self-disgust.

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

Pauline Kael
It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.

Pauline Kael
For a while in the twenties and thirties, art was talked about as a substitute for religion; now B movies are a substitute for religion.

Pauline Kael
If there's anything to learn from the history of movies, it's that corruption leads to further corruption, not to innocence.

Pauline Kael
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
When you clean them up, when you make movies respectable, you kill them. The wellspring of their art, their greatness, is in not being respectable.

Pauline Kael
There is something spurious about the very term 'a movie made for TV,' because what you make for TV is a TV program.

Pauline Kael
The recurrence of certain themes in movies suggests that each generation wants romance restated in slightly new terms, and of course it's one of the pleasures of movies as a popular art that they can answer this need. And yet, and yet — one doesn't expect an educated generation to be so soft on itself, much softer than the factory workers of the past who didn't go back over and over to the same movies, mooning away in fixation on themselves and thinking this fixation meant movies had suddenly become an art, and their art.

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