Losing It At the Movies: Pauline Kael at 100

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In the golden age of film criticism, no reviewer was more fierce and more opinionated than Pauline Kael. A Berkeley dropout and single mother, Kael began writing about film in the early 1950s. Happy to buck popular wisdom and go her own intensely personal way, by the mid-1960s, she was writing for top magazines and her reviews were collected in suggestively-titled books (Kiss Kiss, Bang Bang, Taking It All In). When Kael joined The New Yorker in 1968, she soon became the most influential voice on an exploding art form, staking a position that often privileged “trash” over “art” and dismissed the auteur theory (although she could be as auteurist as they come). Feuds and rivalries with fellow critics…

Read notes
  • Blume In Love
  • Bonnie and Clyde
  • The Fury
  • The Gauntlet
  • The Godfather
  • The Godfather: Part II
  • Hannah and Her Sisters
  • Jackie Brown
  • Jaws
  • La Notte
  • Last Tango in Paris
  • Love in the Afternoon
  • Loving
  • Nashville
  • One Flew Over the Cuckoo's Nest
  • Re-Animator
  • Richard Pryor: Live in Concert
  • Shampoo
  • Shoot the Moon
  • Something Wild
  • The Story of Adele H.
  • Taxi Driver
  • True Stories
  • The Warriors
  • Weekend
  • The Wild Bunch