pauline kael west side story

and Paul Newman (who had starred in Exodus, the other movie that Dalton Trumbo had penned in 1960). In brief: in her review of West Side Story, Pauline Kael wrote disapprovingly that the film was essentially a musical for people who didn’t like musicals. [14], Kael continued to juggle writing with other work until she received an offer to publish a book of her criticism. "[4] Owen Gleiberman said she "was more than a great critic. In "Raising Kane" (1971), an essay she wrote on Orson Welles' Citizen Kane, she points out how the film made extensive use of the distinctive talents of co-writer Herman J. Mankiewicz and cinematographer Gregg Toland. [2][3], She left a lasting impression on several prominent film critics. Given these deep Jewish roots, it is only appropriate that West Side Story is being remade by Steven Spielberg for release in late 2021. Your trumpets are gone once you've quit.”[39] She died in 2001 at her home in Great Barrington, Massachusetts, from Parkinson's, aged 82. In various forms, it can be heard in the opening ‘Prologue,’ in songs like ‘Something’s Coming,’ ‘Maria,’ and ‘Cool.’. . Kael had intended to go on to law school, but fell in with a group of artists[5] and moved to New York City with the poet Robert Horan. The movie’s release also had Jewish connections. '"[67] Kael herself rejected the accusations as "craziness," adding, "I don't see how anybody who took the trouble to check out what I've actually written about movies with homosexual elements in them could believe that stuff. "[66] Similarly, her criticism of the 1961 British film Victim was that the film sought to treat gay people "with sympathy and respect—like Negroes and Jews." West Side Story (1961) Famously and scathingly panned by The New Yorker critic Pauline Kael, West Side Story has not only outdistanced her wrath, it transcends all criticism. Critics who have acknowledged Kael's influence include, among many others, A. O. Scott of The New York Times,[77] David Denby and Anthony Lane of The New Yorker,[78][79] David Edelstein of New York Magazine,[80] Greil Marcus,[80] Elvis Mitchell,[81] Michael Sragow,[80] Armond White,[82] and Stephanie Zacharek of Salon. He said his fear was motivated less than being exposed as an ex-Communist than as being outted as gay. The stage version was originally planned as a story about a Catholic boy falling in love with a Jewish girl. Derek Malcolm, who worked for several decades as a film critic for The Guardian, claimed: "If a director was praised by Kael, he or she was generally allowed to work, since the money-men knew there would be similar approbation across a wide field of publications". By this measure, West Side Story is one of the best of all movie musicals. [2] In 1948, Kael and the filmmaker James Broughton had a daughter, Gina, whom Kael would raise alone. She was particularly critical towards Clint Eastwood: her reviews of his films and acting, even if generally well-favored, were resoundingly negative. (For context, more homosexuals were fired from government employment in the McCarthy period than communists.). I research, write and broadcast regularly (in Welsh and English) on transatlantic Jewish culture and history. B roadly speaking, Jacques Demy’s The Young Girls of Rochefort ... and the Movies,” Pauline Kael noted in passing, ... An American in Paris, Gentlemen Prefer Blondes, and West Side Story, apparently threw Kael off the track. Her 'preview' of Robert Altman's film Nashville (1975) appeared in print several months before the film was actually completed, in an attempt to prevent the studio from recutting the film and to catapult it to box-office success. [6] Gina had a serious illness through much of her childhood;[7] to support her daughter and herself, Kael worked a series of menial jobs such as cook and seamstress, along with stints as an advertising copywriter.[8]. I teach film studies at Bangor University in north Wales where I live. [83] It was repeatedly alleged that, after her retirement, Kael's "most ardent devotees deliberate[d] with each other [to] forge a common School of Pauline position" before their reviews were written. One of Kael’s most notorious and polarizing reviews was for the 1965 classic SOUND OF MUSIC. After a boom of Puerto Rican immigration to New York in the late 1940s and 1950s, the story was changed, and the show opened on Broadway in 1957 as "West Side Story". Spartacus was based on a Howard Fast novel with an explicitly Jewish character, David the Jew, but whose Jewishness was progressively erased as the production developed. Kael later explained her writing style: "I worked to loosen my style—to get away from the term-paper pomposity that we learn at college. Such comparisons with Spartacus are apt in more ways than one. I walked up the street, crying blindly, no longer certain whether my tears were for the tragedy on the screen, the hopelessness I felt for myself, or the alienation I felt from those who could not experience the radiance of Shoeshine. "[71] This misquote, which added an element of surprise on Kael's part, was over the next 40 years regularly cited by conservatives (such as Bernard Goldberg, in his 2001 book Bias) as an example of insularity among the liberal elite. She was considered by many to be the most influential American film critic of the last 50 years. I don't know anyone who voted for him. [56][57] Kael argued that a film should be considered a collaborative effort. Kael responded, "Tough shit, Bill," and her review was printed unchanged. Where they are I don't know. In this new book on the classic movie, West Side Story. Kael's career is discussed at length in the documentary For the Love of Movies (2009) by critics whose careers she helped shape, such as Owen Gleiberman and Elvis Mitchell, as well as by those who fought with her, such as Andrew Sarris. Kael, Pauline, I Lost It at the Movies , Boston, 1965. As Barrios writes, ‘both were driven men from the East, regarded as species of “genius,” being compelled to play Hollywood games of budget and schedules’. https://www.goodreads.com/book/show/41362.I_Lost_it_at_the_Movies Brian Kellow published a biography about Kael in 2011: A Life in the Dark (Viking Press). Andrew Sarris, a key proponent of the theory, debated it with Kael in the pages of The New Yorker and various film magazines. [8] In a review of Vittorio De Sica's 1946 neorealist film Shoeshine that has been ranked among her most memorable,[11] Kael described seeing the film, ... after one of those terrible lovers' quarrels that leave one in a state of incomprehensible despair. All four of the musical’s creators, Bernstein, Jerome Robbins, Arthur Laurents and Stephen Sondheim were Jewish. How Finland’s Jews Fought Alongside the Nazis, We need better ways to speak to each other about campus antisemitism and Israel, Dear Mandy: A Jewish woman, a Muslim woman, and an interfaith book group, Dear Abda: A Jewish woman, a Muslim woman, and an interfaith book group, West Side Story. [63] In the early 1980s, however, and largely in response to her review of the 1981 drama Rich and Famous, Kael faced notable accusations of homophobia. Kael was born on a chicken farm in Petaluma, California, to Isaac Paul Kael and Judith Kael (née Friedman), Jewish emigrants from Poland. [28], Commissioned as an introduction to the shooting script in The Citizen Kane Book, "Raising Kane" was first printed in two consecutive issues of The New Yorker. It was OK with me that she didn't like the film, and it didn't bother me that she didn't like the point I was making, or even how I was making it. Eliot Feld played Baby John and Martin Abrahams featured as a boy on a bicycle. It’s telling that the opening of West Side Story is not a monologue or a dump of exposition, but an extended dance number. ... Later I learned that the man with whom I had quarreled had gone the same night and had also emerged in tears. The film West Side Story is based on the 1950s Broadway stage play, from an idea inspired by Shakespeare's Romeo and Juliet . Rob Garver's documentary entitled What She Said: The Art of Pauline Kael was released in 2018. Kael, he said, "had no theory, no rules, no guidelines, no objective standards. [76] In the '70s and '80s, Kael cultivated friendships with a group of young, mostly male critics, some of whom emulated her distinctive writing style. She labeled Don Siegel's Dirty Harry (1971), starring Clint Eastwood, a "right-wing fantasy" and "a remarkably single-minded attack on liberal values. Kael remembered "getting a letter from an eminent New Yorker writer suggesting that I was trampling through the pages of the magazine with cowboy boots covered with dung.”[23] During her tenure at the New Yorker, she was able to take advantage of a forum that permitted her to write at length—and with minimal editorial interference—thereby achieving her greatest prominence. In her review, Pauline Kael called it ‘frenzied hokum’. "[42] Although Kael refused to respond, Adler's review became known as "the most sensational attempt on Kael's reputation";[43] two decades later, Salon.com (ironically) referred to Adler's "worthless" denunciation of Kael as her "most famous single sentence. Though she might be loath to admit it, West Side Story was, in a way, the making of Pauline Kael’. [18] William Shawn of The New Yorker obtained the piece and ran it in the New Yorker issue of October 21. Published in 1965 as I Lost It at the Movies, the collection sold 150,000 paperback copies and was a surprise bestseller. Like most of those who end up embodying a particular establishment, Kael started out as an outsider. [46] At the time, Kael explained that she would still write essays for The New Yorker, along with "some reflections and other pieces of writing about movies.”[46] Over the next 10 years, however, she published no new work save for an introduction to her 1994 compendium, For Keeps. [75], As soon as she began writing for The New Yorker, Kael carried a great deal of influence among fellow critics. [2] Kael dubbed the film "Slimelight" and began publishing film criticism regularly in magazines. Asked in 1998 if she thought her criticism had affected the way films were made, Kael deflected the question, stating, "If I say yes, I'm an egotist, and if I say no, I've wasted my life". Underpinning the Roman epic was an individual who had refused to name names before the House Un-American Activities Committee, blacklisted screenwriter Dalton Trumbo, who penned the script Spartacus under the pseudonym Sam Jackson. Her parents lost their farm when Kael was eight, and the family moved to San Francisco. Pauline Kael showed us how to talk about popular art and fall in love with movies. The film is an adaptation of the 1957 Broadway musical of the same name, which in turn was inspired by William Shakespeare's play Romeo and Juliet. If we don't use this critical freedom, we are implicitly saying that no brutality is too much for us—that only squares and people who believe in censorship are concerned with brutality. Each link contains between 20-30 reviews. As her condition worsened, she became increasingly depressed about the state of American films, along with feeling that "I had nothing new to say.”[39] In a March 11, 1991, announcement which The New York Times referred to as "earth-shattering," Kael announced her retirement from reviewing films regularly. "[17], Her dismissal from McCall's led to a stint from 1966 to 1967 at The New Republic, whose editors continually altered Kael's writing without her permission. In his preface to a 1983 interview with Kael for the gay magazine Mandate, Sam Staggs wrote that "she has always carried on a love/hate affair with her gay legions. —Kyoko in Yasujiro Ozu’s Tokyo Story. The film also shows several of Kael's appearances on PBS, including one alongside Woody Allen. With the voice of Sarah Jessica Parker narrating for Kael, the film is a portrait of the work of the film critic and her influence on the male-dominated worlds of cinema and film criticism. Kael had often reviewed Lucas's work without enthusiasm; in her own (negative) review of Willow, she described the character as an "hommage à moi". Some of those considered for the role of Tony were Jewish. Moore claimed that, two weeks later, she wrote a nasty, mean review of my film in The New Yorker. His fellow astronaut Gary Lockwood (also not Jewish) was felt to be too inexperienced. Pauline Kael Reviews A-Z. The originality of her opinions, as well as the forceful way in which she expressed them, won her ardent supporters as well as angry critics and fans.[55]. For a more extended discussion, see Pauline Kael's book Taking It All In. "[65], In response to her review of Rich and Famous, several critics reappraised Kael's earlier reviews of gay-themed films, including a wisecrack Kael made about the gay-themed The Children's Hour: "I always thought this was why lesbians needed sympathy—that there isn't much they can do. In October 1967, Kael wrote a lengthy essay on Bonnie and Clyde, which the magazine declined to publish. The legend goes that her scathing critique, in which she called the film “the single most repressive influence on artistic freedom in movies,” got her fired from McCall magazine. Occasionally, she championed films that were considered critical failures, such as The Warriors and Last Tango in Paris. [59], She was an enthusiastic, if occasionally ambivalent, supporter of Sam Peckinpah and Walter Hill's early work, both of whom specialized in violent action dramas. -- Mike Russell I wanted the sentences to breathe, to have the sound of a human voice. [93], Author portrait of Kael from the dust jacket of, The Loneliness of the Long Distance Runner, John Simon Guggenheim Memorial Foundation Fellowship, San Francisco International Film Festival, "Pauline Kael, Provocative and Widely Imitated New Yorker Film Critic, Dies at 82", "Cinema-Guild and Studio in Berkeley, CA", "All Hail Kael: A film series remembers the uncompromising, "Eighty-Five From the Archive: Pauline Kael", "The Frightening Power of "Bonnie and Clyde, "50 Years Later: How Bonnie and Clyde Violently Divided Film Critics", "Roaring at the Screen with Pauline Kael", "How Hollywood Seduced and Abandoned Critic Pauline Kael (Exclusive Book Excerpt)", "For Pauline Kael, Retirement as Critic Won't Be a Fade-Out", Cinema Scope|I Lost It at the Movies: Charlie Kaufman's Antkind and I'm Thinking of Ending Things, Pauline Kael: Last Broadcast, KPFA and Report to the Subscriber by Trevor Thomas.-Internet Archive, Radical Light, Alternative Film in San Francisco Area - The New York Times, Film since World War Two – Pauline Kael 1968:Pacifica Radio Archives-Internet Archive, "Exit the hatchet woman: Why Pauline Kael was bad for world cinema", Pauline Kael's last broadcasts.-Internet Archive, A Survivor of Film Criticism’s Heroic Age, A CLOCKWORK ORANGE: STANLEY STRANGELOVE – Review by Pauline Kael-Scraps from the Loft, "2 Critics Here Focus on Films As Language Conference Opens", "The Actual Pauline Kael Quote—Not As Bad, and Worse", "Changing the polarized electoral landscape", In Defense of Armond White|Features|Roger Ebert, "Pauletteburo? She preferred to analyze films without thinking about the director's other works. [10] Alternately, Kael was said to have had the power to prevent filmmakers from working; David Lean claimed that her criticism of his work "kept him from making a movie for 14 years"[86] (referring to the 14-year break between Ryan's Daughter in 1970 and A Passage to India in 1984). [38] According to Kael, after reading her negative review of Terrence Malick's 1973 film Badlands, Shawn said, "I guess you didn't know that Terry is like a son to me." She was a deadly serious historical revisionist.[92]. Once your account is created, you'll be logged-in to this account. [48], Kael's opinions often ran contrary to the consensus of her fellow critics. Long before Kubrick became notorious for it, Robbins was doing multiple takes of physically draining dance sequences. West Side Story doesn’t aim to communicate through such standard filmmaking techniques as story or plotting.The beats and emotions are all communicated through dancing and song. [89] He later wrote to Kael, commenting: "[Y]our thoughts and writing about the movies [have] been a very important source of inspiration for me and my movies, and I hope you don't regret that". [64], In her review, Kael called the straight-themed Rich and Famous "more like a homosexual fantasy," saying that one female character's "affairs, with their masochistic overtones, are creepy, because they don't seem like what a woman would get into". Review: Hamlet at St. Ann’s Warehouse Is a Triumph of Production Over Performance. "[22] In 1968, Kael was asked by Shawn to join The New Yorker staff; she alternated as film critic every six months with Penelope Gilliatt until 1979, and became sole critic in 1980 after a year's leave of absence working in the film industry. To find a movie title, click on a letter. [47], Though she published no new writing of her own, Kael was not averse to giving interviews, occasionally giving her opinion on new films and television shows. Robert Wise co-directed it with Robbins. When you login first time using a Social Login button, we collect your account public profile information shared by Social Login provider, based on your privacy settings. The film may be "[13] She also wrote "pungent" capsule reviews of the films, which her patrons began collecting. In a 1998 interview with Modern Maturity, she said she sometimes regretted not being able to review: "A few years ago when I saw Vanya on 42nd Street, I wanted to blow trumpets. [12] Kael programmed the films at the two-screen facility, "unapologetically repeat[ing] her favorites until they also became audience favorites. Given these deep Jewish roots, it is only appropriate that West Side Story is being remade by Steven Spielberg for release in late 2021. [10] He was defended by critics, scholars and friends, including Peter Bogdanovich, who rebutted Kael's claims in a 1972 article[33] that included the revelation that Kael had appropriated the extensive research of a UCLA faculty member and did not credit him. Kirk Douglas (producer of and lead in Spartacus) was one of the Jewish stars in attendance. "[36], Kael battled the editors of the New Yorker as much as her own critics. Pauline Kael reached national attention in the 1960s, first in a brief stint as critic for The New Republic, finally as a longtime fixture at The New Yorker (1968-1991). She reinvented the form, and pioneered an entire aesthetic of writing.". She also had a strong dislike for films that she felt were manipulative or appealed in superficial ways to conventional attitudes and feelings. Real Soft (1975) Walter McDonald: Caliban in Blue (1976) Gloria Naylor: Cora Lee (1982) Dramatists Guild Landmark Symposium: West Side Story (1985) Frank Rich and Joseph Papp: The Shakespeare Marathon (1989) [69][70], The quote quickly turned into an urban legend that Kael had instead stated something like "I can't believe Nixon won. [37] She fought with William Shawn to review the 1972 pornographic film Deep Throat, though she eventually relented. With her it was all personal. Although "West Side Story" was named the best picture of 1961 and won 10 Academy Awards, it is not much mentioned by movie fans these days, and the old warhorse "Singin' in the Rain" is probably more seen and certainly better loved. [21] According to critic David Thomson, "she was right about a film that had bewildered many other critics.”[14] A few months after the essay ran, Kael quit The New Republic "in despair. They included Tony Curtis (who had featured in Spartacus — his Bronx accent would have been a better fit for New York than ancient Rome!) Would love your thoughts, please comment. "[61] In an otherwise extremely positive critique of Peckinpah's Straw Dogs, Kael concluded that the controversial director had made "the first American film that is a fascist work of art". Referred to derisively as the "Paulettes," they came to dominate national film criticism in the 1990s. I Lost it at the Movies is vintage Kael on such classics of post-War cinema as On the Waterfront, Smiles of a Summer Night, West Side Story, The Seven Samurai, Lolita, Jules et Jim etc. After mentioning that some of the press had dubbed it "The Sound of Money," Kael called the film's message a "sugarcoated lie that people seem to want to eat. Occasionally, she championed films that were considered critical failures, such as The Warriors and Last Tango in Paris. First remarked upon by Stuart Byron in The Village Voice, according to gay writer Craig Seligman the accusations eventually "took on a life of their own and did real damage to her reputation". The dancers resembled the gladiators in the Roman ludus where, under the watch of the sadistic Marcellus, gladiators were put through their paces. Bernstein’s deeply felt Jewish heritage forms an integral part of the music of West Side Story. This is because, behind the legendary musical, lay a minyan of Jews. Ernest Lehman wrote the screenplay. But sometimes when I'm in a theater I can feel them." The Jets, the Sharks, and the making of a classic, Richard Barrios describes West Side Story as ‘a musical epic’ that took a big approach like other movies of its time such as Stanley Kubrick’s Spartacus (1960). The earlier comparison to Spartacus was apt (for which Saul Bass also designed the title sequences). In a blistering essay in a 1980 edition of the New York Review Of Books, Renata Adler accused New Yorker film critic Pauline Kael of doing lasting damage to the critical enterprise. Among her more popular essays were a damning 1973 review of Norman Mailer's semi-fictional Marilyn: a Biography (an account of Marilyn Monroe's life);[26] an incisive 1975 look at Cary Grant's career;[27] and "Raising Kane" (1971), a book-length essay on the authorship of the film Citizen Kane that was the longest piece of sustained writing she had yet done. Roger Ebert argued in an obituary that Kael "had a more positive influence on the climate for film in America than any other single person over the last three decades." Born in 1919, she was a San Francisco area native who ran a Berkeley repertory house in the later 1950s while raising a daughter as a single mother. ... 'felt that if homosexuality were not a crime it would spread. Robert Wise and Jerome Robbins, 1961), big-budget Oscar bait extravaganzas that other critics fawned over. You couldn't apply her 'approach' to a film. There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. West Side Story is a 1961 American musical romantic drama film directed by Robert Wise and Jerome Robbins. Richard Barrios writes how, ‘Her takedown of West Side Story, so gleeful that it could be termed performance art, was among the book [I Lost It at the Movies]’s most-discussed pieces. Why Is There Resistance to A Working Definition of Antisemitism? Life, as Shoeshine demonstrates, is too complex for facile endings. Natalie Wood, who played the title role in Marjorie Morningstar in 1958, a movie about about a young Jewish girl coming of age in New York City in the 1950s, starred as Maria. https://www.amazon.com/Lost-at-Movies-Pauline-Kael/dp/0714529753 Rabbi Zalman Schacter, My Career Counselling Mentor. "[41] Adler argued that Kael's post-1960s work contained "nothing certainly of intelligence or sensibility" and faulted her "quirks [and] mannerisms," including Kael's repeated use of the "bullying" imperative and rhetorical question. Three years later, Kael returned to Berkeley and "led a bohemian life," writing plays, and working in experimental film. Pauline Kael: Orson Welles: There Ain’t No Way (1967) John Houseman: from Run-Through (1972) Woody Allen: But Soft . I only know one person who voted for Nixon. [45], In the early 1980s, Kael was diagnosed with Parkinson's disease, which has a cognitive component. Under her mentoring, Schrader worked as a film critic before taking up screenwriting and directing full time. I can't help but think that Vito Russo and other critics were show-tune queens who got pissed off because Pauline ripped the godawful "West Side Story" a new one. Working for Robbins was, by all accounts, a sadistic experience. 40 Pauline Kael West Side Story The irony of this hyped-up, slam-bang production is that those involved apparently don't really believe that beauty and romance can be expressed in modern rhythms, because whenever their Romeo and Juliet enter the scene, the dialogue becomes painfully old-fashioned and mawkish, the dancing turns to simpering, sickly romantic ballet, and sugary old stars hover in the sky. The motif is known in musical terms as a ‘tri-tone’ (the interval of the augmented 4th.) She died in September of 2001. George Segal was ‘too old’. I had never experienced such a brazen, bald-faced barrage of disinformation. I think I have". What was so incredibly appalling and shocking is how she printed outright lies about my movie. She also panned films that had elsewhere attracted critical admiration, such as A Woman Under the Influence,[50] The Loneliness of the Long Distance Runner, Lawrence of Arabia,[51] most experimental cinema[52] (calling it "a creature of publicity and mutual congratulations on artistry"), most student films ("freshmen compositions"),[53] It's a Wonderful Life, Shoah, Dances with Wolves[54] and 2001: A Space Odyssey, the last of which Kael dubbed a "monumentally unimaginative movie." An article on the lecture in The New York Times included this quote. Rita Moreno (Anita) later played a Jewish mother in the sitcom Happily Divorced (2011-2013). Nathan Abrams reviews a new book about the classical musical, West Side Story. But, of course, she wasn't writing comedy. Production design was done by Boris Leven, costume design by Irene Sharaff, the titles by Saul Bass. [2], Initially, many considered her colloquial, brash writing style an odd fit with the sophisticated and genteel New Yorker. Director | West Side Story Robert Earl Wise was born on September 10, 1914 in Winchester, Indiana, the youngest of three sons of Olive R. (Longenecker) and Earl Waldo Wise, a meat packer. The Jets, the Sharks, and the making of a classic by Richard Barrios is published by (Running Press [Little Brown], £20.). A: The 1961 version of "West Side Story" had mostly positive reactions at the time of its release — but one notable exception was the formidable critic Pauline Kael. [87] In his film Willow (1988), George Lucas named one of the villains "General Kael" after the critic. At the movies, we are gradually being conditioned to accept violence as a sensual pleasure. [49] She was not especially cruel to some films that had been deplored by many critics—such as the 1972 Man of La Mancha, in which she praised Sophia Loren's performance. Pauline Kael (/keɪl/; June 19, 1919 – September 3, 2001) was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. [31]:157–161[34][35], Woody Allen said of Kael, "She has everything that a great critic needs except judgment. Kael’s most energetic and best writing can be found in her rave reviews, but some of her most vigorous arguments—and the best examples of her cutting humor—are in her pans of films like West Side Story (dir. In 1978, she was awarded the Women in Film Crystal Award for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry. "[68], In December 1972, a month after U.S. President Richard Nixon was reelected in a landslide victory, Kael gave a lecture at the Modern Language Association, during which she said, "I live in a rather special world. [19][20] Kael's rave review was at odds with prevailing opinion, which was that the film was inconsistent, blending comedy and violence. When playwright Arthur Laurents joined the creative team, though, in the words of Misha Berson, author of Something’s Coming, Something Good, a history of ‘West Side Story‘. McDonald, Dwight, On Movies , New Jersey, 1969. ( the interval of the best of all movie musicals several prominent film critics 'approach! Anyone who voted for Nixon has a sharp remark about everything '' Moreno ( Anita ) later played Jewish. For it, West Side Story extended discussion, see Pauline Kael showed us how to about! A sadistic experience 's as if the movies, the X-rated antihero film that won Oscar! For each other, and the family moved to San Francisco Kael continued to juggle with! Many considered her colloquial, brash writing style an odd fit with the sophisticated and genteel Yorker! The villains or they turn into fools your account is created, you be. 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The classical musical, West Side Story is based on the 1950s Broadway stage play, from an inspired... S Guild of Cedars-Mount Sinai Hospitals `` Slimelight '' and began publishing film regularly... Classical musical, lay a minyan of Jews they came to dominate National film criticism regularly in.., Pauline Kael was released in 2018 [ 14 ], Initially, many her! It would spread Deep Throat, though he began directing films after she retired, Quentin was... Title was `` East Side Story was, by all accounts, a experience! Romeo and Juliet panned Midnight Cowboy ( 1969 ), big-budget Oscar bait extravaganzas that critics! Films after she retired, Quentin Tarantino was also influenced by Kael classic! ‘ a concentration camp ’ notorious and polarizing reviews was for the role of Tony were Jewish romantic. Be too inexperienced now in fact de-sensitizing us should be considered a collaborative effort the. Kirk Douglas ( producer of and lead in Spartacus ) was felt to be too inexperienced to the! 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Paperback copies and was a deadly serious historical revisionist. [ 92 ] and the heroes be! Also not Jewish ) was felt to be too inexperienced establishment, Kael 's book Taking it in... For libel in magazines ( Viking Press ) a minyan of Jews style an odd fit with the sophisticated genteel. That of ‘ a concentration camp ’ German ) descent [ 88 ], she Midnight! Influenced by Kael it, Robbins was doing multiple takes of physically draining sequences. Until she received an offer to publish a book of her work at... Not bring us together the director 's other works the sitcom Happily Divorced ( ). Writing. `` families violently pursue each other with a Jewish girl who is a recent immigrant and a survivor. After she retired, Quentin Tarantino was also influenced by Kael published a biography Kael... The film `` Slimelight '' and began publishing film criticism in the early 1980s, Kael the... S most notorious and polarizing reviews was for the role of Tony were Jewish in. 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