pauline kael on godard

Their only identity is in their relationship with each other. For a more extended discussion, see Pauline Kael's book Taking It All In. Preposterous as much of this seems, it is theoretically not so far from Godard’s way of working. For this is the rapture with “thoughts” of those whose minds aren’t much sullied by thought. If Godard fails, it will be because what he wants to do—which is what he does—isn’t good enough. Songs and music … At the same time it is definitive. Jean-Luc Godard’s explosive 14th feature film (one of no less than three Godard masterpieces that were released in 1967), which Pauline Kael called “ a speed-freak’s anticipatory vision of the political horrors to come,” is getting a 50th anniversary re-release at the Quad Cinema in New York. It’s the sadness in frivolity—in the abandonment of efforts to make sense out of life in art. His next film was going to … But, in the spirit of Godard’s own exhortation (addressed, in the first instance, to Pauline Kael) that critics must “bring in the evidence” in their analyses, and not just rely on faulty recollections or selective descriptions, we audiovisually explore two operations. What I want is the definitive by chance.” Sometimes, almost magically, he seems to get it—as in many scenes of Breathless and Band of Outsiders—but often, as in The Married Woman, he seems to settle for arbitrary effects. If I may be deliberately fancy; he aims for the poetry of reality and the reality of poetry. The … What is not so generally understood is the studio executives’ implicit assumption that this is also what American audiences like. And although most of the results are bad beyond our wildest fears, as if to destroy all our powers of prediction, a few, even of the most ignorant, pretentious young men and women, are doing some interesting things. I don’t mean that there haven’t been earlier generations of directors who grew up on movies, but that it took the peculiar post-World-War-II atmosphere to make love of movies a new and semi-intellectualized romanticism. What the young seem to be interested in is brutalism. \/ Sam Staggs -- Passion of a critic : Kael on mediocrity, risk and … Bertolucci has been working … If the most that a gifted colorist like Lucien Ballard can hope for is to beautify a John Michael Hayes screenplay—giving an old tart a fresh complexion—why not scratch up the image? It is like the sackcloth of true believers which they wear in moral revulsion against the rich in their fancy garments. But if those who follow the clues come out with odd and disjunctive interpretations, this is because the “clues” are not integral to the movie but are clues to what else the artist was involved in while he was making the movie. And a staggering number of them wish to be or already call themselves “film-makers.”. Is Hollywood interested in the young movement? → Buy a print issue I had seen him the night before in a good dark suit, but now he had dressed for his role (deserving artist) as I had dressed for mine (distinguished critic). For a younger generation he is the proof that it is possible to make and go on making films your own way. And don’t we—as children and perhaps even later—romanticize cheap movie stereotypes, endowing them with the attributes of those figures in the other arts who touch us imaginatively? It can be funny in a cheap sort of way—as in Robert Downey’s Chafed Elbows where the images and the sound are, at least, in the same style; but this isn’t fundamentally different from the way George Axelrod works in Lord Love a Duck or Blake Edwards in What Did You Do in the War, Daddy? Her most notable films were her first major role, as Charles Chaplin's leading lady in Modern Times, and Chaplin's subsequent film The Great Dictator. They are most alive (and most appealing) just because they don’t conceive of the day after tomorrow; they have no careers, no plans, only fantasies of the roles they could play, of careers, thefts, romance, politics, adventure, pleasure, a life like in the movies. (All of his films are in that sense documentaries—as were also, and also by necessity, the grade B American gangster films that influenced him.) CineFiles is a free online database of film documentation and ephemera I heard a young film-maker put it this way to a teenage art student: “What do you go to life-class for? Pauline Kael’s criticism, which began as tentative marginalia that criticized, heckled, and imaginatively “embroidered” movies, acquired in the mid-1960s the compulsive, novelistic tug of a standalone text. They’re a generation of familiar strangers. When the narrator in Band of Outsiders says, “Franz did not know whether the world was becoming a dream or a dream becoming the world” we may think that that’s too self-consciously loaded with mythic fringe benefits and too rich an echo of the narrators of Orphée and Les Enfants Terribles, or we may catch our breath at the beauty of it. → Buy a print issue Pauline Kael's First Film Review for The New Republic 'Godard Among the Gangsters,' September 10, 1966 Pauline Kael. Their hero, Jean-Luc Godard—one of the most original talents ever to work in film and one of the most uneven—is not a brutalist at so simple a level, yet he comprises the attitudes of a new generation. To say it flatly, Godard is the Scott Fitzgerald of the movie world, and movies are for the sixties a synthesis of what the arts were for the post-World-War-I generation—rebellion, romance, a new style of life. Yet determined to … Then we regret that Godard is not the kind of artist who can provide an intellectual structure commensurate with the brilliance of his style and the quality of his details. Band of Outsiders is like a reverie of a gangster movie as students in an expresso (sic) bar might remember it or plan it—a mixture of the gangster film virtues (loyalty, daring) with innocence, amorality, lack of equilibrium. Conversations with Pauline Kael brings together roughly half of Kael's published interviews along with a lively debate between Kael and Jean-Luc Godard. They recall so many other movie-lives that flickered for us; and the quick rhythms and shifting moods emphasize transience, impermanence. Find all 20 songs in What She Said: The Art of Pauline Kael Soundtrack, with scene descriptions. Hulton Archive/Getty Images . Find all 20 songs in What She Said: The Art of Pauline Kael Soundtrack, with scene descriptions. Either you can draw or you can’t. When this imagined world is as exquisite as in Band of Outsiders we may begin to feel that this indifference or inability to connect with other worlds is a kind of aesthetic expression and a preference. The period was also an age of spectacles like Planet of the Apes, The Lion in Winter, and Yellow Submarine. Godard Among the Gangsters. The reverse is closer to the truth: it’s becoming almost impossible to produce a decent looking movie in a Hollywood studio. She states the story line is the “most gloriously redundant plot of all time” (Abrahams 223), insisting that no point is made in the movie. Kenneth Anger did it with Scorpio Rising. His movies themselves become playful gestures, games in which you succeed or fail with a shrug, a smile. The new film enthusiasts are, when it comes down to it, not any more interested in simple, small, inexpensive pictures than Hollywood is. And a caricature of this way of talking is common among young American film-makers. Total satire is opportunistic and easy; what’s difficult is to make a movie about something—without making a fool of yourself. Übereinstimmung alle exakt jede Wörter . Pauline Kael had a profound impact on my life. For a more extended discussion, see Pauline Kael's book Taking It All In. Pauline Kael later wrote of Goddard, "she is a stand-out. In a Hollywood movie, the big scenes usually look pie- arranged; in a film by David Lean, one is practically wired to react to the hard work that went into gathering a crowd or dressing a set. Weekend, for example — which for many is an extraordinary work of singular, spontaneous genius — is a real Excedrin Headache to sit through. Yet why are the Hollywood movies, even the worst overstuffed ones, often easier to sit through than the short experimental ones? Much of the movie style of young American film-makers may be explained as a reaction against the banality and luxuriant wastefulness which are so often called the superior “craftsmanship” of Hollywood. Essays and criticism on Jean-Luc Godard - Pauline Kael. You play at cops and robbers but the bullets can kill you. In reaction, the young become movie brutalists. They decorate a movie and it is easy for viewers to feel that they give it depth, that if followed, these clues lead to understanding of the work. There is a self-destructive urgency in his treatment of themes, a drive toward a quick finish. Even his world of the future, Alphaville, is, photographically, a documentary of Paris in the present. The Criterion Collection. tunefind. Weekend, for example — which for many is an extraordinary work of singular, spontaneous genius — is a real Excedrin Headache to sit through. Even their notion of creativity—as what comes naturally—is surprisingly similar to the aristocratic artist’s condescension toward those middle-class plodders who have to labor for a living, for an education, for “culture.”. At a party combining the commercial and non-commercial worlds of film, a Hollywood screen writer watched as an underground filmmaker and his wife entered. I say fabled because the “craft” claims of Hollywood, and the notion that the expensiveness of studio-produced movies is necessary for some sort of technical perfection or “finish,” are just hucksterism. fun." Godard is what is meant by a “film-maker.” He works with a small crew and shifts ideas and attitudes from movie to movie and even within movies. (There are, of course, some young film-makers who are not interested in movies as we ordinarily think of them, but in film as an art-medium like painting or music), and this kind of work must be looked at a different way—without the expectation of story content or meaning.) By now—so accelerated has cultural history become—we have those students at colleges who when asked what they’re interested in say, “I go to a lot of movies.” And some of them are so proud of how compulsively they see everything in terms of movies and how many times they’ve seen certain movies that there is nothing left for them to relate movies to. They tell us that his aim is not simple realism, that the lives of his characters are continuously altered by their fantasies. They’re rich and rotten.” But, of course, you can be poor and not so very honest and, although it’s harder to believe, you can even be rich and not so very rotten. Because he is skillful enough (and so incredibly disciplined) that he can make his pictures for under $100,000, and because there is enough of a youthful audience in France to support these pictures, he can do almost anything he wants within those budgetary limits. Those who said they were going to make art movies not only didn’t consider it worth their while to go to see ordinary commercial movies, but usually didn’t even know anything much about avant-garde film. The two heroes of Band of Outsiders begin by play-acting crime and violence movies, then really act them out in their lives. Pauline Kael: From 1981 to 1989, I was assistant producer and co-host of the radio show, On the Arts, at CJRT-FM in Toronto. Pauline Kael sees 2001: A Space Odyssey as a big waste of sets and equipment with no sense of structure. The wife was wearing one of those classic filmmakers’ wives’ outfits: a simple sack of burlap in natural brown, with scarecrow sleeves. It’s important to get exposure.” One can imagine their faces if they had to listen to those teachers who used to tell us that you had to be able to do things the traditional ways before you earned the right to break loose and do it your way. Home. They, and many in their audiences, may prefer the rough messiness—the uneven lighting, awkward editing, flat camera work, the undramatic succession of scenes, unexplained actions, and confusion about what, if anything, is going on—because it makes their movies seem so different from Hollywood movies. Perhaps a crucial difference between Cervantes’ mock romances and Godard’s mock melodramas is that Godard may (as in Alphaville) share some of his characters’ delusions. It is the Fellini-Guido figure of 8 ½, the movie director as star. If ever there was a great example of how the best popular movies come out of a merger of commerce and art, The Godfather is it. An elderly gentleman recently wrote me, “Oh, they’re such a bore, bore, bore, modern youth!! And movies, because they are such an encompassing, eclectic art, are an ideal medium for combining our experiences and fantasies from life, from all the arts, and from our jumbled memories of both. [Pauline Kael; Will Brantley] -- Interviews with Pauline Kael, movie critic for the New Yorker from 1968 to 1991. I don’t hate Godard, but he’s very easy to hate during certain films. They’re “inspirations”—bright illuminations from nowhere—and this is what kids who think of themselves as poetic or artistic or creative think ideas are: noble sentiments. Flashdance US (1983): Drama 96 min, Rated R, Color, Available on videocassette and laserdisc A lulling, narcotizing musical, it sells the kind of romantic story that was laughed off the screen 30 years ago, and then made a comeback with ROCKY I, II, and III, and it's like a sleazo putting the make on you. Like cool Peter Pans, they just take off and fly. Through what is almost a technological fluke, 16 mm movie cameras give the experimental film-maker greater flexibility than the “professional” 35 mm camera user, but he cannot get adequate synchronous sound. They probably won’t be able to make satisfying movies until the problems of sound are solved not only technically but in terms of drama, structure, meaning, relevance. When I was in my twenties, I didn’t just loaf around, being a rebel, I went places and did things. And perhaps they never were: The luxury and wastefulness that, when you are young, seem as magical as peeping into the world of the Arabian Nights, become ugly and suffocating when you’re older and see what a cheat they really were. Some of them believe that everything they catch on film is definitive, so they do not edit at all. It’s the tension between his hard, swift, cool style and the romantic meaning that style has for him (and for other lovers of “unsentimental”—!—American gangster movies) that is peculiarly modern and exciting in his work. Conversations with Pauline Kael brings together roughly half of Kael's published interviews along with a lively debate between Kael and Jean-Luc Godard. Godard brought this way of reacting out into the open of new movies at the same time that the Pop Art movement was giving this kind of experience precedence over responsiveness to the traditional arts. This book reprints all of Pauline Kael's late '60s columns from the New Yorker magazine. Although Miss Kael is as different from these two men as they were different from each other, like them she begins with an unshakable love for the movies. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to artists from all fields. Pauline Marion Goddard Levy. But we know how alien to our lives were those movies that fed our imaginations and have now become part of us. The sadness that pervades the work is romantic regret that you can no longer believe in the kind of movie you once wanted to be enfolded in, becoming part of that marvellous (sic) world of beauty and danger with its gangsters who trusted their friends and its whores who never really sold themselves. After smiling with pleasure as we do when a child discovers the beauty of a leaf or a poem, enabling us to reexperience the wonder of responsiveness, we may sink in spirit right down to incredulity. They simply take short cuts into other art forms or into pop arts where they can “express themselves” now. Search. Kids who can’t write, who have never developed any competence in photography, who have never acted in nor directed a play, see no deterrent to making movies. It's a notion that takes some growing used to, but Pauline Kael makes her case persuasively: "Almost every interesting American movie in the past few years has been directed by a Catholic." Godard, Truffaut, and Bergman were all at the peak of their powers; in the U.S., Kubrick, De Palma and others were breaking the rules of conventional movie making. Yet his reminders serve an opposite purpose. Listen to trailer music, OST, original score, and the full list of popular songs in the film. Kael was known for her "witty, biting, highly opinionated and sharply focused" reviews, her opinions often contrary to those of her contemporaries. by Pauline Kael. And so the experimentalists, as if to convert this liability into an advantage, have asserted that their partial use of the capabilities of the medium is the true art of the cinema, which is said to be purely visual. Pauline Kael is a moviegoer, as were James Agee and Robert Warshow—before Miss Kael, the only two really special American writers on the subject of the movies. More: Andrew Sarris Cahiers du Cinema Jean-Luc Godard Pauline Kael Wes Anderson. Here, too, Godard is the symbol, exemplar, and proof. If it attracts customers, Hollywood will eat it up, the way The Wild Angels has already fed upon Scorpio Rising. Because Godard’s movies do not let us forget that we’re watching a movie, it’s easy to think he’s just kidding. Home. It’s as if a French poet took an ordinary banal American crime novel and told it to us in terms of the romance and beauty he read between the lines; that is to say, Godard gives it his imagination, recreating the gangsters and the moll with his world of associations—seeing them as people in a Paris cafe, mixing them with Rimbaud, Kafka, Alice in Wonderland. Aesthetically and morally, disgust with Hollywood’s fabled craftsmanship is long overdue. Few seem to have noticed that by the time of Juliet of the Spirits he had turned into a professional party-giver. It's a notion that takes some growing used to, but Pauline Kael makes her case persuasively: "Almost every interesting American movie in the past few years has been directed by a Catholic." Legendary New Yorker film critic Pauline Kael is the subject of a new documentary, now at the Gene Siskel Film Center. Bitte fügen Sie ein Beispiel hinzu. There is little interest in the work of gifted, intelligent men outside the industry like James Blue (The Olive Trees of Justice)or John Korty (The Crazy Quilt) who are attempting to make inexpensive feature-films as honestly and independently as they can. This book reprints all of Pauline Kael's late '60s columns from the New Yorker magazine. What was to be a simple commercial movie about a robbery became. Jean-Luc Godard intended to give the public what it wanted. These are “thoughts” without thought: they don’t come out of a line of thought or a process of thinking, they don’t arise from the situation. The men who made the stereotypes drew them from their own scrambled experience of history and art—as Howard Hawks and Ben Hecht drew Scarface from the Capone family “as if they were the Borgias set down in Chicago.”. WorldCat Home About ... a debate [between] Jean-Luc Godard and Pauline Kael \/ Camera Obscura -- Annals of film criticism : Pauline Kael \/ Kristine McKenna -- Did she lose it at the movies? First, we raise Maupassant’s text, once again, to the surface of the film, for the sake of a comparative reading. ... (This does not apply to a man like Jean-Luc Godard, who is not a mass-medium movie director.) This nostalgia that permeates Band of Outsiders may also derive from Godard’s sense of the lost possibilities in movies. The new Pauline Kael biography by Brian Kellow gets into this a bit, and it's not flattering to Kael at all. She was one of the most influential American film critics of her era. Listen to trailer music, OST, original score, and the full list of popular songs in the film. Sie können ein Suche mit weniger scharfen Kriterien versuchen, … In … Algorithmisch generierte Übersetzungen anzeigen Anzeigen . Keine Beispiele gefunden. There is a disturbing quality in Godard’s work that perhaps helps to explain why the young are drawn to his films and identify with them, and why so many older people call him a “coterie” artist and don’t think his films are important. Only the title of Jean-Luc Godard’s new film is casual and innocent; Weekend is the most powerful mystical movie since The Seventh Seal and Fires on the Plain and passages of Kurosawa. The talent is strangled in the business bureaucracy, and the best of our cinematographers perform safe, sane academic exercises. They are basically right, of course, in what they’re against. A child fashion model and a performer in several Broadway productions as a Ziegfeld Girl, she became a major star of the Paramount Studio in the 1940s. More Pauline Kael in the July 2019 issue of Sight & Sound Mission critical. But maybe he hasn’t; maybe he has artistry of a different kind. Godard, Jean Luc [remove] 5; Document: film title. The penalty of Godard’s fixation on the movie past is that, as Alphaville reveals, old movies may not provide an adequate frame of reference for a view of this world. They’re orphans, by extension, in a larger sense, too, unconnected with the world, feeling out of relationship to it. I knew form other young men that the term “art” used as an adjective meant that they were by-passing even the most rudimentary knowledge in the field. She knows, as did Agee and War-show, that when you walk … The story may not involve more than a few spies and counterspies, but the wide screen will be filled. If the honking horns (which to an acolyte like Pauline Kael sounded like something out of Purcell) don’t do you in, then the black guy on the garbage truck will. The set decorator will pack the sides of the image with fruit and flowers and furniture. At one point he quotes Kael's review of … The New Yorker Movie Club. Stamm. 25 December 2020; 20 songs; Follow. In a Hollywood movie, the big scenes usually look pie- arranged; in a film by David Lean, one is practically wired to react to the hard work that went into gathering a crowd or dressing a set. In her distinctive and … Refine See titles to watch instantly, titles you haven't rated, etc. Little is hard about Bruce Baillie or Carroll Ballard whose camera skills expose how inept, inefficient, and unimaginative much of Hollywood’s self-praised work is, or about the elegance and grandeur of Jordan Belson’s short abstract films, like Allures, that demonstrate that one man working in a basement can make Hollywood’s vaunted special effects department look archaic. TV Shows; Movies; Games; Trending Music; Blog; Sign In; Join; What She Said: The Art of Pauline Kael Soundtrack. Silly? What makes Bernardo Bertolucci’s films different from the work of older directors is an extraordinary combination of visual richness and visual freedom. Godard in his films seems to say; only this kind of impossible romance is possible. Toggle navigation. The basic ideas among young American film-makers are simple: the big movies we grew up on are either corrupt, obsolete or dead, or are beyond our reach (we can’t get a chance to make Hollywood films)—so we’ll make films of our own, cheap films that we can make in our own way. On 25 July 1982, at London’s National Film Theatre, Pauline Kael invited questions from the audience. What makes Bernardo Bertolucci’s films different from the work of older directors is an extraordinary combination of visual richness and visual freedom. When Hollywood cameramen and editors want to show their expertise they imitate the effects of Japanese or European craftsmen and then the result is pointed to with cries of “See, we can do anything in Hollywood.” The principal demonstration of art and ingenuity among these “craftsmen” is likely to be in getting their sons and nephews into the unions and in resisting any attempt to make Hollywood movie-making flexible enough for artists to work there. “The ideal for me,” he says, “is to obtain right away what will work—and without retakes. A student’s idea of a film-maker isn’t someone who has to sit home and study and think and work—as in most of the arts—but go out with friends and shoot. Good, liberal parents didn’t want to push their kids in academic subjects but oohed and aahed with false delight when their children presented them with a baked ashtray or a woven doily. The distancing of Godard’s imagination induces feelings of tenderness and despair which bring us closer to the movie-inspired heroes and to the wide-eyed ingenue than to the more naturalistic characters of ordinary movies. The production values are often ludicrously inappropriate to the subject matter, but studio executives, who charge off roughly 30 percent of a film’s budget to studio overhead, are very keen on these production values which they frequently remind us are the hallmark of American movies. But some of the young who say they’re going to make “art movies” are actually beginning to make movies. He has said, “As soon as you can make films, you can no longer make films like the ones that made you want to make them.” This we may guess is not merely because the possibilities of making big expensive movies on the American model are almost non-existent for the French but also because, as the youthful film enthusiast grows up, if he grows in intelligence, he can see that the big expensive movies now being made are not worth making. They also contain discussions of films that Kael did not have the chance to … More Pauline Kael in the July 2019 issue of Sight & Sound Mission critical. Legendary New Yorker film critic Pauline Kael is the subject of a new documentary, now at the Gene Siskel Film Center. On 25 July 1982, at London’s National Film Theatre, Pauline Kael invited questions from the audience. He doesn’t, like many artists, deny the past he has outgrown; perhaps he is assured enough not to deny it, perhaps he hasn’t quite outgrown it. Griffith, Eisenstein, Von Stroheim, Von Sternberg, Cocteau, Renoir, Max Ophuls, Orson Welles—they were defeated because they weren’t in a position to do what they wanted to do. The tawdry American Nights of gangster movies that were the magic of Godard’s childhood formed his style—the urban poetry of speed and no afterthoughts, fast living and quick death, no padding, no explanations—but the meaning had to change. `` she is a stand-out t hate Godard, Jean Luc [ remove ] 5 ; Document: title... Economic and political obstacles—of compromises, defeats, despair, even purity of intentions no. Develop in its banal “ Creativity ” is a history of great film directors is an extraordinary combination visual! A younger generation he is almost alone among movie directors: it ’ s films different the... The sadness in frivolity—in the abandonment of efforts to make and go on making films your own way s and. The lost possibilities in movies good enough to be interested in the.. 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