pauline kael reviews geocities

Roberto Rossellini made this episodic film after his breakthrough with OPEN CITY the year before. Too gentle. There are few thrills in this big misconceived courtroom thriller, directed by Alfred Hitchcock and ornately produced by David O. Selznick. His singing helps things along, and he also does the only acting, though Kim Novak's vacuity is rather touching and isn't as laborious as Rita Hayworth's performance. by Pauline Kael. To find a movie title, click on a letter. In French. Review of Diner (1982) by Pauline Kael for The New Yorker — 22 Jun 2018. United Artists. For a more extended discussion, see Pauline Kael's book When the Lights Go Down. Published in The New Yorker, September 19, 1983 by Pauline Kael. The writer-director Jean-Luc Godard has a gift for making the contemporary satiric and fantastic. Based on Leonardo Sciascia's novel, A Man's Blessing, this tense, unusual thriller directed by Elio Petri has a nightmare realism that suggests Kafka. The movie lacks urgency, but it's compelling, nevertheless. Reviews. Each of the six parts has a story and deals with an aspect of the war that had just ended. (You get rid of the parents, of course; America is a young country--and who wants to be bothered by the squabbles of older people?) Consider the feat: first you take Shakespeare's Romeo and Juliet and remove all that cumbersome poetry; then you make the Montagues and Capulets modern by turning them into rival street gangs of native-born and Puerto Ricans. It's at its worst when John Wood is onscreen as a saintly computer scientist who's so brainy and bitter that he rolls his eyes from side to side and wears his hair in bangs. When you can be blown up at any moment only a fool believes that character determines fate. The first American audiences couldn't judge it properly, because it was released here in a botched, dubbed version called PARIS DOES STRANGE THINGS; Marais spoke in a gravelly baritone so far from his own voice that people laughed. Norman Taurog directed; the Harry Revel and Mack Gordon songs include "Love Thy Neighbor" and "She Reminds Me of You.". Set in an Ozark community, this lampoon of television evangelists is a piece of rollicky backwoods Americana. Colbert, travelling by train, becomes involved with a bunch of drunken millionaires--members of the "Ale and Quail Club," on board with their hounds and guns--who stage an informal skeet shoot in the club car and demolish the glassware. Sturges's comic invention soars, but the picture is too wild to be sustained; still, it's a joy, despite the lulls of waggish humor. Melanie Griffith and Matthew Modine are the San Francisco lovers who fix up a Victorian house (on Potrero Hill); Michael Keaton is the sicko scam artist who takes over one of their two rental units and calls the police when they try to evict him. The island looks hot and barbaric, ominous and teeming with life. With Norma Shearer, Melvyn Douglas, Gail Patrick, Marjorie Main, Florence Bates, Lee Bowman, Reginald Owen, Alan Mowbray, Sig Rumann, and Ava Gardner (in her début). Guthrie uses the Yeats translation of Sophocles' tragedy, … With an amazing cast that includes Jason Robards, Katy Jurado, Rita Coolidge, Emilio Fernandez, Slim Pickens, Chill Wills, John Beck, Richard Jaeckel, Matt Clark, Richard Bright, Jack Elam, Harry Dean Stanton, John Davis Chandler, L.Q. Pauline Kael’s Most Passionate Reviews, From ‘Bonnie and Clyde’ to ‘Taxi Driver’ Thumbnails. A Morgan Creek Production, released by 20th Century-Fox. Walter Hill's spectacle takes its story from Xenophon's Anabasis and its style from the taste of the modern urban dispossessed--in neon signs, graffiti, and the thrill of gaudiness. Shows like this, in which the studios showed off their contract players, were a form of institutional advertising that paid for itself. Based on a novel by David Walker. With Barbara Bel Geddes, who is exceedingly likable as Widmark's wife, Tommy Rettig as their son, and Alexis Minotis. It spawned sequels and imitations. Paul Lukas is the European Underground leader who brings his American wife (Bette Davis) and three children home to the Washington mansion of her mother (Lucile Watson). Whatever the reasons, Clément seems to be pulled in different directions; his "sensitivity" is like a glue holding the picture together. (The Wedekind material was first filmed in 1919 with Asta Nielsen; the most recent version was probably the 1962 LULU with Nadja Tiller.) The director, Paul Leni, a former Max Reinhardt collaborator, was an extraordinarily gifted scenic artist; the macabre Expressionistic decor for the Jack the Ripper sequence is made entirely from sheets of painted paper. The action runs from night until dawn, and most of it is in crisp, bright Day-Glo colors against the terrifying New York blackness; the figures stand out like a jukebox in a dark bar. She had a taste for violence in films, but only when it was purpose and she disliked movies she felt were superficial or manipulative. William Dieterle is also in the cast. Pauline Kael movie reviews & film summaries | Roger Ebert. They do a classic soft-shoe shuffle outside a saloon; Hardy's lolling elephantine grace has never been more ingratiating. What She Said: The Art of Pauline Kael (2019) Nell Minow . Among the other stars are Nancy Carroll, Nino Martini, Jean Arthur, Gary Cooper, Fay Wray, Lillian Roth, Dennis King, Kay Francis, and Buddy Rogers. Nick Nolte plays a holdup man serving "life without possibility"--that is, without possibility of parole. Keith Carradine, Geraldine Chaplin, Lauren Hutton, Harvey Keitel, John Considine, Sissy Spacek, Sally Kellerman, and others perform attentively, but they're undirected, and you can sense their unease as they trudge from one cheerless affair to the next. The writers involved were Richard Murphy, Edward and Edna Anhalt, and Daniel Fuchs; Joe MacDonald shot the picture in and on actual bars and wharfs. No other film has so subtly linked eroticism with religious persecution. Pauline Kael (/ k eɪ l /; June 19, 1919 – September 3, 2001) was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. The grotesquely natural cruelty is mythological--almost rhapsodic. For a more extended discussion, see Pauline Kael's book Movie Love. She states there is no reality in the film, that everything is so cinematically dramatized that it’s hard to take seriously. Clarke, got the idea from a wartime newspaper item: the Canadian government transferred title to the room in which the exiled Princess Juliana was about to bear a child to the Netherlands; in this way the child would technically be born on Dutch soil and thus be a legal heir to the throne. Most of this Blake Edwards slapstick farce records the way the Indian innocently destroys the party, and it's too long for its one-note jokes, and often too obvious to be really funny. For 632 reviews, this critic has graded: 28% higher than the average critic. The characters and their problems don't make much imprint on a viewer; if you can't remember whether you've seen the picture or not, chances are that you did and forgot it. As Mickey Finn, the villain in love with his own villainy, James Finlayson is practically a co-star, and Sharon Lynne is the voluptuous blond saloon girl. This is a movie Mount Rushmore, though it features only two heads. Barrie's The Admirable Crichton, one of the most serviceable of screen sources. In French. This first feature directed by the actor Bob Balaban is a stunning début, even though the story, which starts as a satiric comedy about the conformism of the Eisenhower 50s, lapses into gory horror-movie banality. (Cocteau wrote that this film "seems like an historical document from an era in which the cinema didn't exist.") In French. He seems to inspire Hoffman to underplay, too. Alastair Sim turns up as the Laird, and the Scottish Highlands provide the background for this gentle satire of man's mania for bodybuilding. With the exception of Alec Guinness (whose caricature of an inscrutable Brahmin is simply in the wrong movie), the cast is just about irreproachable. The director, Phil Karlson, is brutally effective; he makes the battle of virtuous force against organized evil seem primordial. Besides, Americans don't move their mouths right for that British chat. He plays Benjamin Braddock, who returns to his swank LA home after graduating from college, and feels alienated from his insensitive, self-indulgent parents and their whole set of lewd, money-making friends. Above all it was her personality. The picture's crudeness and its crummy cinematography give it the illusion of honesty. (A much better British version came out in the early 50s under the original title.) And then she names the three directors she feels are making the most exciting movies right now: Francis Ford Coppola, an Italian-American; Martin Scorsese, who grew up in New York's Little … Jean Renoir made this love-carnival film, set in France in the 1880s, in color and with an expensive international cast--Ingrid Bergman, Mel Ferrer, and Jean Marais. Ledda's story is about how he was enslaved as a child, imprisoned in a sheepfold, and forced to tend the family flock, and of how he fought his way out of the isolation and silence--how he struggled for words. Hepburn plays a phenomenal all-around athlete, and in the course of the picture she takes on Gussie Moran, Babe Didrikson Zaharias, and other professionals, touching off the comic possibilities in various sports with grace and ease. There is an idea behind this Canadian film, set in Saskatchewan: it's an attempt to show how a small-town hockey hero and womanizing brawler (Keir Dullea) is destroyed by his fantasy that he's a mythic hero figure as big as the hero of "Gunsmoke." The movie straggles a bit, but it has a klunky freshness, and it has a whole slew of terrifically talented actors: Tim Curry as the bratty con artist, the charismatic Reverend Ray Porter who dallies with the ladies of the choir; Annie Potts as his exhibitionist wife, Darla, who wiggles like the best cootch dancer in Heaven while delivering a sales pitch for expensive Bibles; Anthony Geary; Glenn Withrow; Dennis Burkley; Leland Crooke; and others. She has no moral sense and no interests beyond sensuality; when a man is exhausted, she leaves him. The movie is a popular melodrama with its roots in the gangster films of the 30s, but it expresses a new tragic realism, and it's altogether extraordinary. Henri-Georges Clouzot directed his own adaptation of Georges Arnaud's novel. For a more extended discussion, see Pauline Kael's book Taking It All In. An existential thriller--the most original and shocking French melodrama of the 50s. This ingenious thriller by Claude Chabrol was made directly after THE COUSINS. Pauline Kael’s Most Passionate Reviews, From ‘Bonnie and Clyde’ to ‘Taxi Driver’ Thumbnails. Watch on the Rhine US (1943): War/Drama 114 min, No rating, Black & White, Available on videocassette . But the fun is missing: he scares you only by making you nervous. 2% same as the average critic. There isn't a laugh in its 2 hours. There's a night-blooming, psychedelic shine to the whole baroque movie. Silent. The present-tense semi-documentary visual style is innovative, the content less so. The writer-director, Alan Rudolph, is literary in a subliterate way; he overvalues mournful poetic thoughts. 2% same as the average critic. The songs (from various sources) include "Did I Get Stinking at the Club Savoy!" The script is by Christopher Hawthorne; the art direction is by Andris Hausmanis. Cinematography by Dave Myers. The idea is so promising that you keep expecting more pleasure than you get. It's a promising beginning--too promising for what follows. Produced by Robert Altman. Matthew Broderick plays the role with great charm; the boy is like an American Antoine Doinel, and he's the life of the movie. With Claudine Longet, Marge Champion, Steve Franken, Gavin MacLeod, Buddy Lester, and Denny Miller; written by Edwards and Tom and Frank Waldman. Cinematography by Bruce Surtees. Lulu is the sexually insatiable female, the archetype of voracious, destructive woman. Allied Artists. There's even a heavenly choir. If this isn't a parable of man's position in the modern world, it's at least an illustration of it. Having built up to the courtroom drama, Lean isn't able to regain a narrative flow when it's over; the emotional focus is gone, and the concluding scenes wobble all over the place. A misbegotten attempt by MGM to embroider on Noel Coward's TONIGHT AT 8:30 playlets and put them together. 2001: A Space Odyssey (1969) Stanley … 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. For a more extended discussion, see Pauline Kael's book I Lost it at the Movies. Shot in Tennessee; written by Mort Briskin. Set in the California Sierras during the gold-rush era before the Civil War, the movie is full of recycled mythmaking (SHANE, HIGH NOON, and Sergio Leone's spaghetti Westerns), but Eastwood goes through his motions like someone exhumed, and in his directing he numbs out what he borrows. In 1968, shortly after the publication of her review of “Bonnie and Clyde,” she became the magazine’s film critic. Humphrey Bogart, Peter Ustinov, and Aldo Ray trying very hard to be funny as a trio of convicts who escape from Devil's Island late in the 19th century. The implied system of values in the early, heroic Westerns and action-adventure films began to be treated satirically in the "counterculture" movies of the Vietnam and Watergate years. She was one of the most influential American film critics of her era. Pabst had selected her to play Lulu in this film, adapted from the Wedekind plays Erdgeist and Die Büchse der Pandora (the same source material that Alban Berg used for his opera Lulu). And the Western Canadian prairie country is an unusual locale. It has an authentic look and a thoughtfully selected cast that includes Richard Bright, Alan Vint, Kiel Martin, Michael McClanathan, Raul Julia, Warren Finnerty, Paul Sorvino, Sully Boyar, and Joe Santos. It includes James Fox as the dogged liberal Nigel Fielding and Nigel Havers as Ronny, and also Art Malik, Michael Culver, Saeed Jaffrey, Roshan Seth, and Sandra Hotz as Stella. Music by Roman Vlad. The staging, and the cinematography by Rudolph Maté, are in a style that suggests the Stations of the Cross. There was gossip that the French team of Jean Aurenche and Pierre Bost, who had worked on some of Gabin's fatalistic, atmospheric prewar successes, rewrote Cesare Zavattini's and Suso Cecchi d'Amico's neo-realist script. The film enters into the spirit of urban-male tribalism and the feelings of kids who believe that they own the streets because they keep other kids out of them. Lewin's direction is static, yet his staging is so luxuriantly mad that it's easy to get fixated on what, if anything, he could have had in mind. (It is said that the studio was out to break Hayworth; she certainly doesn't seem to be getting a fair shake here.) Gabin plays a Frenchman, wanted for homicide, who has fled to Genoa; there he spends a few days with the troubled Miranda and her impressionable daughter (Vera Talchi) before the police close in on him. (The Florence episode is by Vasco Pratolini, who isn't credited.) Pauline Kael has awarded high ratings to Planet of the Apes (1968), The Godfather: Part II (1974), Invasion of the Body Snatchers (1978), Platoon (1986) and Taxi Driver (1976). For a more extended discussion, see Pauline Kael's book Reeling. Skip In 00 : 02 prev next. The movie is about the men's impulses to revert to their former crime patterns, and about their efforts to become professional men of the theatre. 70% lower than the average critic. Lillian Hellman's 1941 Broadway play--a cautionary polemical melodrama about the danger of Fascism in the U.S.--is housebound and fearfully lofty. picture ever done. For sheer erotic dynamism, the backstage scenes on the opening night of a show Lulu is in have never been equalled; the later scenes, in Marseilles, are comparatively drab. The Taviani brothers, who wrote and directed this film version of Gavino Ledda's 1974 autobiography, have learned to fuse political commitment and artistic commitment into stylized passion. With Fritz Kortner as Dr. Schön, Francis Lederer as his son, Alice Roberts as the lesbian Countess Geschwitz, and Gustav Diessl as Jack the Ripper. Adapted from the Sol Yurick novel. For a more extended discussion, see Pauline Kael's book Going Steady. The spirit of the film isn't naturalistic--it's animistic. Warners. Henry Cornelius directed; music by Georges Auric. In English, French, Italian, and German. With Natalie Wood as Maria, Richard Beymer as Tony, and Rita Moreno, George Chakiris, Russ Tamblyn, Eliot Feld, Gus Trikonis, Ned Glass, John Astin, Bill Bramley, and Simon Oakland. For a more extended discussion, see Pauline Kael's book Hooked. Academy Awards: Best Picture, Director (Wise, Robbins), Supporting Actor (Chakiris), Supporting Actress (Moreno), Cinematography (Daniel L. Fapp), Art Direction and Set Direction (Boris Leven and Victor Gangelin), Sound, Scoring, Costume Design (Irene Sharaff). … There isn't a gleam of good sense anywhere in this picture. The music is by Georges Auric; the cinematography is by Armand Thirard. Produced by Sidney Franklin, for MGM. Levinson's dialogue feels fresh and improvised, yet it hits its mark every time, and the performances he gets are complex and original (particularly from Mickey Rourke, who plays a … 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. Movie Reviews Great Movies Collections TV/Streaming Features Chaz's Journal Interviews Cast and Crew Pauline Kael Find on IMDB. Cinematography by Jack Cardiff. Cinematography by Fred Koenekamp; music by Jerry Goldsmith. For a more extended discussion, see Pauline Kael's book Reeling. Though made in 16 mm, for Italian television, this extraordinary work--pungent and carnal, and in faintly psychedelic Romanesque color--took the two top prizes at Cannes (the Golden Palm and the International Critics' Prize). 6 of 16. prev. His most controversial film, it is also his most powerful; the violence is not used simply for excitement--it's used as in Eisenstein's and Buñuel's films: to force a vision of human experience. With Stefania Sandrelli, Tina Aumont, and Sergio Tofano. Michael Curtiz directed this oppressive, misbegotten venture, adapted from the French play La Cuisine des anges, from which the Broadway play My 3 Angels was also taken. With Elizabeth Patterson and Barbara Nichols. THE GODFATHER: ALCHEMY – Review by Pauline Kael. Instant Watch Options; Genres; Movies or TV; IMDb Rating; In Theaters; On TV ; Release Year; Keywords; Prime Video (31) … The picture grew out of the director John Hancock's contacts with the convict Rick Cluchey and his San Quentin Drama Group (whose late-60s show The Cage toured the U.S. and Europe); Hancock and his wife, Dorothy Tristan, who collaborated with him on the script, also did research into other prison theatre groups, and the movie gives the impression that they piled together the stories and anecdotes they liked best, and left the job of unifying them to Nolte. It’s deeply satisfying to see, finally, Luchino Visconti’s magnificent 1963 film The Leopard in Italian, with subtitles, and at its full length—three hours and five minutes. The four are a Corsican (Yves Montand), a Frenchman (Charles Vanel), an Italian (Folco Lulli), and a German (Peter Van Eyck), and the film is about their responses to the gruelling test of driving the trucks. For a more extended discussion, see Pauline Kael's book Hooked. It's easy to present fantasy on the screen, but to show a man's life in completely realistic terms as this film does and make us experience it as fantasy is difficult. Katharine Hepburn and Spencer Tracy play together so expertly that their previous films seem like warmups. Columbia. Michel Simon is the stranger in a Paris suburb who is framed for murder; Viviane Romance and her lover, Paul Bernard, are the ones who frame him. This admirable version of E.M. Forster's 1924 novel about the tragicomedy of British colonial rule was adapted, directed, and edited by David Lean, who knows how to do pomp and the moral hideousness of empire better than practically anybody else around. The director, Lewis Milestone, brought the film a visual style, and Robert Rossen's script (from the Harry Brown novel) emphasizes that these civilians turned soldiers are just stumbling about, wondering what's going on. Clémenti doesn't convey enough intellectuality for an audience to understand the character, who seems to be a comic-strip Artaud. As the five gruelling cross-examinations follow each other, Dreyer turns the camera on the faces of Joan and the judges, and in giant closeups he reveals his interpretation of their emotions. Pauline Kael Select another critic » The New York Times, The New Yorker. He begins with just a slight stylization of civilized living now--the people are more adulterous, more nakedly mercenary, touchier. Powerful, loved and hated film critic of her era Elisha Cook ( Jr..! American infantry platoon in Italy has a Great big inexplicable reputation a island... They do a classic soft-shoe shuffle outside a saloon ; Hardy 's lolling elephantine grace has never been ingratiating! As naturalists living there of New York Times, the New York-set movie does n't convey enough intellectuality for audience. 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