Welles also received royalties from The Citizen Kane Book, even though its introduction all but denied him credit. Brian Kellow published a biography about Kael in Honestly, I squinted and tried, but couldn't do it. She tried to rewrite history … Her complete fabrication of the facts was so weird, so out there, so obviously made-up, that my first response was this must be a humor piece she had written.
My identification with those two lost boys had become so strong that I did not feel simply a mixture of pity and disgust toward this dissatisfied customer but an intensified hopelessness about everything. And the greatness of a director like Cocteau has nothing to do with mere technical competence: He appeared in less prestigious projects too, from end-of-the-world documentaries to wine commercials.
Casual moviegoers knew Welles better as an actor: Derek Malcolmwho worked for several decades as a film critic for The Guardianclaimed that, "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".
It is, rather, appreciation, celebration, information, and it is written by intellectuals who have come to be "insiders" in the sense that they are able to discourse learnedly about almost any movie without thinking much about whether it's any good - the very question must strike them as a little naive, and irrelevant - because they see it as a greater, or lesser, manifestation of the mystery, the godhead of Cinema.
But a long, passionately-argued piece by a famous writer carries its own weight. And she expects to be taken seriously?
Mankiewiczco-author of the screenplay, was virtually the sole author of the script and the film's actual guiding force. Without Mankiewicz there would have been no perfect idea at the perfect time for Welles. As drew on, however, Kael became more and more distant, until contact ceased entirely.
To many observers, this seemed an obvious combination. As drew on, however, Kael became more and more distant, until contact ceased entirely. The directors used to say they were showing us its real face and how ugly it was in order to sensitize us to its horrors.
You know, Kael has a reputation for championing trashy filmmakers, but I find her tastes in trash to be rather quotidian. Yet her argument lives on. When a really attractive Easterner said to me, "I don't generally like musicals, but have you seen West Side Story? It's the only way to read it - I don't usually have trouble with white text on black field, but the font size and spacing are just right to make it hard on the eyes.
Casual moviegoers knew Welles better as an actor: Read any Pauline Kael? More than a glimpse behind the scenes, Film Quarterly offers serious film lovers in-depth articles, reviews, and interviews that examine all aspects of film history, film theory, and the impact of film, video, and television on culture and society.
I had never experienced such a brazen, bald-faced barrage of disinformation. Mankiewicz and cinematographer Gregg Toland. She remained at The New Yorker for twenty years, becoming its sole critic in Challenging him was a California-based writer named Pauline Kael.
It also showed her impatience with critical dogma: Several of the articles listed above are available through their site. He becomes a beacon for writers everywhere who had their credit stolen by others — a bold statement from Kael, given her treatment of Howard Suber.
Welles considered these last degrading, but they provided him funds to sustain his projects and lifestyle. Perhaps the effusive Welles worship soured Kael, overcoming her previous admiration.
But this would deny those of us who don't believe in censorship the use of the only counterbalance: Aside from his drinking, Mankiewicz seems a swell guy betrayed by the System.David Hudson, at IFC Daily, links to Phil Nugent’s interesting post regarding Pauline Kael’s enduring power as a critic.
Nugent says: I have my own. ” This article cites much of Pauline Kael’s essay, in response to Sarris’s, “Circles And Squares. ” Terrence Rafferty from NY Times wrote an article entitled “Now Playing: Auteur vs.
We will write a custom essay sample on. Kane: Pauline Kael, Orson Welles and the Authorship of Citizen Kane. Kael Vs. Kane: Pauline Kael, Orson Welles and the Authorship of Citizen Kane InFilm Quarterly published an essay entitled “Circles and Squares.” It addressed the French auteur theory, introduced to America by The Village Voice’s Andrew Sarris.
Auteurism holds. May 25, · Pauline Kael's Criticism of the Auteur Theory Some people have been critical of Andrew Sarris’ essay, and also then reject the notion of filmmakers having the right to be called an Auteur.
One of the main voices on the side of this argument was US film critic Pauline Kael. Frangois Truffaut proposed for the magazine a "politique des auteurs"--a policy of focussing criticism primarily upon directors.
12 PAULINE KAEL Circles and Squares In and we anticipate in our next issue a rejoinder by Andrew Sarris. Howards End. Roger Ebert on James Ivory's "Howards End". Ballad of Narayama "The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty.Download