19 Jan pauline kael 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. But this would deny those of us who don't believe in censorship the use of the only counterbalance: the freedom of the press to say that there's anything conceivably damaging in these films—the freedom to analyze their implications. I research, write and broadcast regularly (in Welsh and English) on transatlantic Jewish culture and history. She has great passion, terrific wit, wonderful writing style, huge knowledge of film history, but too often what she chooses to extol or fails to see is very surprising. Yet our tears for each other, and for Shoeshine did not bring us together. Similarly, in the tentatively titled East Side Story, the original idea was to update Romeo and Juliet but with feuding Jews (Emeralds) and Irish Catholics (Jets) living on the Lower East Side of Manhattan at Passover/Easter. 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. We also get your email address to automatically create an account for you in our website. ", 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. The Jets, the Sharks, and the making of a classic by Richard Barrios is published by (Running Press [Little Brown], £20.). , In January 2000, filmmaker Michael Moore posted a recollection of Kael's response to his documentary film Roger & Me (1989). Her parents lost their farm when Kael was eight, and the family moved to San Francisco. , Kael's opinions often ran contrary to the consensus of her fellow critics. Each link contains between 20-30 reviews. She also had a strong dislike for films that she felt were manipulative or appealed in superficial ways to conventional attitudes and feelings. I teach film studies at Bangor University in north Wales where I live. Why Is There Resistance to A Working Definition of Antisemitism? I had never experienced such a brazen, bald-faced barrage of disinformation. The stage version was originally planned as a story about a Catholic boy falling in love with a Jewish girl. Pauline Kael showed us how to talk about popular art and fall in love with movies. They're outside my ken. 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.” 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. Similarly she trashes West Side Story (Robbins 1961) as an overtly saccharine musical spectacle for people who hate musicals, and back-handedly compliments Bass’s work by saying “Surely only Saul Bass could provide the titles for such a production” (Kael “Innocents” 34). 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. At the movies, we are gradually being conditioned to accept violence as a sensual pleasure. 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. 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. 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. Kael was known for her "witty, biting, highly opinionated and sharply focused" reviews, her opinions often contrary to those of her contemporaries. 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. " She also wrote "pungent" capsule reviews of the films, which her patrons began collecting. Critics who have acknowledged Kael's influence include, among many others, A. O. Scott of The New York Times, David Denby and Anthony Lane of The New Yorker, David Edelstein of New York Magazine, Greil Marcus, Elvis Mitchell, Michael Sragow, Armond White, and Stephanie Zacharek of Salon. His fellow astronaut Gary Lockwood (also not Jewish) was felt to be too inexperienced. Moore wrote that Kael was incensed that she had to watch Roger & Me in a cinema (after Moore refused to send her a tape of the film for her to watch at home), and she resented Roger & Me winning Best Documentary at the 55th New York Film Critics Circle Awards. They are saying that everyone is brutal, and the heroes must be as brutal as the villains or they turn into fools. Rob Garver's documentary entitled What She Said: The Art of Pauline Kael was released in 2018. : Fur flies over the Kael "kopy kats, "REVIEW: Running Time: 17,356,680 Minutes", "Pauline Kael, the Truth, and Nothing But ...", "20th Annual Los Angeles Film Critics Association Awards", Film Hall of Fame: Support – Online Film & Television Association, Afterglow: A Last Conversation With Pauline Kael, Pauline Kael's Legacy Built By Straying From Herd-NPR article, Afterglow: A Last Conversation with Pauline Kael, https://en.wikipedia.org/w/index.php?title=Pauline_Kael&oldid=997131030, 20th-century American non-fiction writers, Neurological disease deaths in the United States, University of California, Berkeley alumni, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, 2012: Posthumous induction into the OFTA Film Hall of Fame Behind the Scenes Film Criticism, Online Film & Television Association, This page was last edited on 30 December 2020, at 03:49. As her condition worsened, she became increasingly depressed about the state of American films, along with feeling that "I had nothing new to say.” In a March 11, 1991, announcement which The New York Times referred to as "earth-shattering," Kael announced her retirement from reviewing films regularly. , She left a lasting impression on several prominent film critics. The person who got the role was Richard Beymer who had earlier appeared as Peter van Daan in the The Diary of Anne Frank in 1959. I wanted the sentences to breathe, to have the sound of a human voice. 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. The film also shows several of Kael's appearances on PBS, including one alongside Woody Allen. 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". 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. 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 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. And I don't mean that facetiously. , 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. She also panned films that had elsewhere attracted critical admiration, such as A Woman Under the Influence, The Loneliness of the Long Distance Runner, Lawrence of Arabia, most experimental cinema (calling it "a creature of publicity and mutual congratulations on artistry"), most student films ("freshmen compositions"), It's a Wonderful Life, Shoah, Dances with Wolves and 2001: A Space Odyssey, the last of which Kael dubbed a "monumentally unimaginative movie." Life, as Shoeshine demonstrates, is too complex for facile endings.  He was defended by critics, scholars and friends, including Peter Bogdanovich, who rebutted Kael's claims in a 1972 article that included the revelation that Kael had appropriated the extensive research of a UCLA faculty member and did not credit him. . , Kael had a taste for antihero films that violated taboos involving sex and violence; this reportedly alienated some of her readers.  Gina had a serious illness through much of her childhood; 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.. " Kael disparaged the supposed critic's ideal of objectivity, referring to it as "saphead objectivity," and incorporated aspects of autobiography into her criticism. Leonard Bernstein composed the music and Stephen Sondheim wrote the lyrics. I think I have". 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. 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.  When confronted with the rumor that she ran "a conspiratorial network of young critics," Kael said she believed that critics imitated her style rather than her actual opinions, stating, "A number of critics take phrases and attitudes from me, and those takings stick out—they're not integral to the writer's temperament or approach".. , Kael continued to juggle writing with other work until she received an offer to publish a book of her criticism. 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. Kael's reviews included a panning of West Side Story (1961) that drew harsh replies from the film's supporters; ecstatic reviews of Z and MASH that resulted in enormous boosts to those films' popularity; and enthusiastic appraisals of Brian De Palma's early films. The motif is known in musical terms as a ‘tri-tone’ (the interval of the augmented 4th.) 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). 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". She preferred to analyze films without thinking about the director's other works. 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); an incisive 1975 look at Cary Grant's career; 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. By 1968, Time magazine was referring to her as "one of the country's top movie critics.”. In the introduction (which was reprinted in The New Yorker), Kael stated, in reference to her film criticism, "I'm frequently asked why I don't write my memoirs.  Kael's rave review was at odds with prevailing opinion, which was that the film was inconsistent, blending comedy and violence. By contrast, co-director of West Side Story, Jerome Robbins, had named names before the committee, resulting in the blacklisting of seven of his associates. For if people cannot feel Shoeshine, what can they feel?  According to critic David Thomson, "she was right about a film that had bewildered many other critics.” A few months after the essay ran, Kael quit The New Republic "in despair. Production design was done by Boris Leven, costume design by Irene Sharaff, the titles by Saul Bass. He said his fear was motivated less than being exposed as an ex-Communist than as being outted as gay. The Warriors US (1979): Action 90 min, Rated R, Color, Available on videocassette and laserdisc . 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