Pauline Kael

i can't remember her writing about bunuel, but she must have somewhere, right?

her rave for discreet charm made me check it out

I wasn't sure whether to mention Bunuel--yes, Spanish born, Mexico later. Anyway, I think she generally wrote favorably about Bunuel.

well there ya go he was ambitious and arty and european. and tons of fun.

Her long review of Simon of the Desert contains some of her most considered judgments.

if he were around today hollywood would have lured him here to direct chris tucker movies.

It was Fassbinder she never wrote a single word about, the last I heard.

She alluded to him in a Sirk review.

i never hear anyone anywhere talking about fellini anymore. or pasolini or antonioni or any of those guys. maybe i hang with the wrong people. 70's american movies though? i hear about that stuff all the time from people. all kinds of obscure american 70's movies.

i'm the same way though, sadly. dr morbz' nightmare american film fan. when was the last time i watched a fassbinder movie? 20+ years? something like that.

All That Heaven Allows

US (1955): Drama
89 min, No rating, Color, Available on videocassette

A trashy love story about the attraction between a natural man (Rock Hudson, as a New England tree surgeon) and a frustrated-by-respectability rich widow (Jane Wyman) who is some fifteen years older than he and has two grown children. Hudson and Wyman are hardly an electric combination, but this Ross Hunter production is made with so much symbolism that some people actually see it as allegorical. Its reputation derives from the slurpy, peculiarly glossy intensity of Douglas Sirk's direction-the same sort of pop spirituality that he had brought to Ross Hunter's MAGNIFICENT OBSESSION, with the same two stars, the year before. Sirk's blend of Germanic kitsch and Hollywood kitsch was a major influence on the young German director Fassbinder, whose work is a further formalization of Sirk's schematic sentimentality.

Did she ever review (or mention) Tarkovsky? I think she missed him too.

Did she ever change her mind about anything in later life and realized that she had missed something, for instance see that Douglas Sirk had a little more than just "a talent for whipping up sour, stylized soap operas in posh settings"? Oh wait, she couldn't since she never watched anything more than once, or has that been debunked?

"a talent for whipping up sour, stylized soap operas in posh settings" isn't wrong though!

It's not wrong, but it's kind of damning with faint praise.

Tarkovsky and Fassbinder both tiresome bores

granted the only Fassbinder I've tried to watch was Berlin Alexanderplantz

that's deep, Shakes.

at least they're both dead

http://www.inspiredcardandgift.co.uk/images/graphiccontribution.jpg

The strawman awakes

all that heaven allows is a very weird movie. jane wyman bums me out in a big way. blah.

do guys really want me to go in on Berlin Alexanderplantz cuz I will

xp

when was the last time anyone watched a lina wertmuller movie?

do guys really want me to go in on Berlin Alexanderplantz cuz I will

I didn't get past the third episode but he's got 15,000 other movies in every genre, so man the fuck up and start watching.

heck, when was the last time someone watched a roberto rossellini movie? actually i could kinda go for one right about now. he made so many movies that i've never seen.

You might actually like World on a Wire, Shakey. It's got some Jerry Cornelius stuff going on.

Not really, but you still might like it.

Shakey really raising rongness to new heights lately.

Lotsa people watched Rossellini after reading this:

http://www.slantmagazine.com/dvd/review/roberto-rossellinis-war-trilogy/1653

looks like World on a Wire is not available in the US...?

i think i have still never seen any rossellini films

shakey it just had a theatrical run in certain cities (its first US one, i think? it was made-for-tv), i imagine criterion will be putting it out soon since janus distro'ed it

Too bad you're not Jonathan Rosenbaum, Shakey.

i would buy that war trilogy set if i ever saw one. i doubt i'll see one around here anywhere, but you never know. i might have to go to the dreaded newbury comix in northampton.

I watched Germany Year Zero a few years back and was bummed out for days.

Did she ever change her mind about anything in later life and realized that she had missed something,

offhand i can't think of a notable example mentioned in the bio. maybe. she placed tremendous importance & pride on only seeing movies once, tho

did any of her interviewers ask her about this?

there's something in afterglow about it

she says in 'raising kane' that she liked 'kane' much more on a second viewing (this was three decades later, of course).

controversial!

kael's dependence on her immediate gut reactions reminds me of the famous story about columbia pix president harry cohn & citizen kane screenwriter herman mankiewicz

Cohn started the conversation with: "Last night I saw the lousiest picture I've seen in years." After mentioning the title, one producer reported that he had seen it with an audience and they had loved it. He suggested that maybe Cohn would have had a different reaction if he had seen it with an audience. Cohn replied, "That doesn't make any difference. When I'm alone in a projection room, I have a foolproof device for judging whether a picture is good or bad. If my fanny squirms, it's bad. If my fanny doesn't squirm, it's good. It's as simple as that." There was a momentary silence, which was broken by Mankiewicz. "Imagine," he said to the other members of the table. "The whole world wired to Harry Cohn's ass!"

I think I read that this was the film whose dreadfulness made her throw in the towel in '91:

http://www.imdb.com/title/tt0102004/

www.youtube.com/watch?v=V4axKyzyUrw

Lem Dobbs -- screenwriter of the Kael-killing film Morbs links to there -- is also (a) son of the proto-PopArt painter R. B. Kitaj; (b) a respected British film historian; and (c) screenwriter of three Soderburgh projects (Kafka, The Limey and Haywire). Kafka was made the same year as the Kael-killer -- I have it on VHS, but never watched it beyond a quick scan, as a lot of it's too dark (as in light-lacking) to screen well on a TV, and I always lose patience. Aggravating thread-derail ends.

From Francis Davis' interview that became Afterglow:

FD: I assume that the Parkinson’s was the reason you retired from The New Yorker.

PK: That, plus the fact that I suddenly couldn’t say anything about some of the movies. They were just so terrible, and I’d already written about so many terrible movies. I love writing about movies when I can discover something in them—when I can get something out of them that I can share with people. The week I quit, I hadn’t planned on it. But I wrote up a couple of movies, and I read what I’d written, and it was just incredibly depressing. I thought, I’ve got nothing to share from this.

One of them was of that movie with Woody Allen and Bette Midler, Scenes from a Mall. I couldn’t write another bad review of Bette Midler. I’d already panned her in Beaches. How can you go on panning people in picture after picture when you know they were great just a few years before? You have so much emotional investment in praising people that when you have to pan the same people a few years later it tears your spirits apart. And Woody Allen didn’t deserve to be as bad as he was in Scenes from a Mall. I don’t feel great enthusiasm about his recent movies, but I thought parts of Husbands and Wives were quite stunning. I loved Judy Davis. But nothing of his that I’ve seen since has really excited me. You can’t explain some of these things, except that it’s the wrong material, the wrong costars, everything goes wrong in a movie when something goes wrong, and it’s just too damn depressing to spend your life writing about that.

Plus Mall was a Paul Mazursky film, and she loved him too

J-Ros reviews Hoberman's 60s book and has something to say about PK: http://www.jonathanrosenbaum.com/?p=26674

Shouldn't Rosenbaum at least mention in passing that he once co-authored a book with Hoberman (Midnight Movies, a good one)? Unless I missed it.

Emerson on Kael and criticism's evaluating technique, which then spreads into that Taylor essay.

can anyone imagine Kael reviewing an Apichatpong film?

Some good points in that essay -- more than I want to defend here, to be honest -- but anyone who's read Kael's evaluations of, say, Ophuls or Bunuel will get the discussion of "mise en scene" that Emerson implies she avoided.

Besides this Self-Styled Siren post and its comments section (both of which allude to Jim Emerson) addresses all this.