Кейл, Полин цитаты (73 цитат) | Цитаты известных личностей

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Кейл, Полин цитаты

„Безответственность - это часть удовольствия всего искусства; та самая часть, которую не одобряют в школах.“

Кейл, Полин

Кейл, Полин: Цитаты на английском языке

“In the arts, the critic is the only independent source of information. The rest is advertising.”

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Pauline Kael

Newsweek (1973-12-24).

“It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.”

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Pauline Kael

"The Perils of Being Pauline" http://wrt102summer2005.blogspot.com/2005/07/pauline-kael-new-yorker-interview.html, interview with Francis Davis, The New Yorker (October 2001). <br class="br">Interviews

“Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize.”

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Pauline Kael книга Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“Movies are so rarely great art, that if we cannot appreciate great trash, we have very little reason to be interested in them.”

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Pauline Kael книга Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“I see little of more importance to the future of our country and of civilization than full recognition of the place of the artist. If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him.”

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Pauline Kael

John F. Kennedy, address at the dedication of the Robert Frost Library, Amherst College, Amherst, Massachusetts (1963-10-26).
Misattributed

“Audiences who have been forced to wade through the thick middle-class padding of more expensively made movies to get to the action enjoy the nose-thumbing at "good taste" of cheap movies that stick to the raw materials. At some basic level they like the pictures to be cheaply done, they enjoy the crudeness; it’s a breather, a vacation from proper behavior and good taste and required responses. Patrons of burlesque applaud politely for the graceful erotic dancer but go wild for the lewd lummox who bangs her big hips around. That’s what they go to burlesque for.”

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Pauline Kael книга Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“The craftsmanship that Hollywood has always used as a selling point not only doesn’t have much to do with art — the expressive use of techniques — it probably doesn’t have very much to do with actual box-office appeal, either.”

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Pauline Kael книга Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“I regard criticism as an art, and if in this country and in this age it is practiced with honesty, it is no more remunerative than the work of an avant-garde film artist. My dear anonymous letter writers, if you think it is so easy to be a critic, so difficult to be a poet or a painter or film experimenter, may I suggest you try both? You may discover why there are so few critics, so many poets.”

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Pauline Kael

"Replying to Listeners" http://www.paulrossen.com/paulinekael/replylisteners.html, broadcast on KPFA (January 1963).

“Before seeing Truffaut's Small Change, I was afraid it was going to be one of those simple, natural films about childhood which I generally try to avoid — I'm just not good enough to go to them. But this series of sketches on the general theme of the resilience of children turns out to be that rarity — a poetic comedy that's really funny.”

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Pauline Kael

Review of Small Change, from When The Lights Go Down (Holt, Rinehart and Winston, 1980, ISBN 0-030-42511-5).

“I still don't look at movies twice. It's funny, I just feel I got it the first time. With music it's different. People respond so differently to the whole issue of seeing a movie many times. I'm astonished when I talk to really good critics, who know their stuff and will see a film eight or ten or twelve times. I don't see how they can do it without hating the movie. I would.”

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Pauline Kael

"The Perils of Being Pauline," interview with Francis Davis, The New Yorker (October 2001).
Interviews

“It would be very convincing to say that there’s no hope for movies — that audiences have been so corrupted by television and have become so jaded that all they want are noisy thrills and dumb jokes and images that move along in an undemanding way, so they can sit and react at the simplest motor level. And there’s plenty of evidence, such as the success of Alien. This was a haunted-house-with-gorilla picture set in outer space. It reached out, grabbed you, and squeezed your stomach; it was more gripping than entertaining, but a lot of people didn’t mind. They thought it was terrific, because at least they’d felt something: they’d been brutalized. It was like an entertainment contrived in Aldous Huxley’s Brave New World by the Professor of Feelies in the College of Emotional Engineering.”

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Pauline Kael

Taking It All In (1983), Why Are Movies So Bad? Or, The Numbers (1980-06-23)

“People who are just getting "seriously interested" in film always ask a critic, "Why don’t you talk about technique and 'the visuals' more?" The answer is that American movie technique is generally more like technology and it usually isn’t very interesting.”

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Pauline Kael книга Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“In movies, the balance between art and business has always been precarious, with business outweighing art, but the business was, at least, in the hands of businessmen who loved movies. As popular entertainment, movies need something of what the vulgarian moguls had — zest, a belief in their own instincts, a sentimental dedication to producing pictures that would make their country proud of their contribution, a respect for quality, and the biggest thing: a willingness to take chances. The cool managerial sharks don’t have that; neither do the academics. But the vulgarians also did more than their share of damage, and they’re gone forever anyway. They were part of a different America. They were, more often than not, men who paid only lip service to high ideals, while gouging everyone for profits. The big change in the country is reflected in the fact that people in the movie business no longer feel it necessary to talk about principles at all.”

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Pauline Kael

Taking It All In (1983), Why Are Movies So Bad? Or, The Numbers (1980-06-23)

“If there is any test that can be applied to movies, it's that the good ones never make you feel virtuous.”

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Pauline Kael книга Hooked

"Ersatz," review of Stand By Me (1986-09-08), p. 197.
Hooked (1989)

“Though she came from the theatre, Barbara Stanwyck seemed to have an intuitive understanding of the fluid physical movements that work best on camera; perhaps she had been an unusually "natural" actress even onstage. This was her first big hit in the movies. Under Frank Capra's direction, she plays a tough "party" girl (euphemism for call girl) who poses for a wealthy young artist (Ralph Graves); he sees in her the spirituality that she attempts to deny. The story is a museum piece of early-talkies sentimentality, but, in a way, that only emphasizes Stanwyck's remarkable modernism.”

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Pauline Kael

"Ladies of Leisure," p. 403
5001 Nights at the Movies (1982)

“Alienation is the most common state of the knowledgeable movie audience, and though it has the peculiar rewards of low connoisseurship, a miser’s delight in small favors, we long to be surprised out of it — not to suspension of disbelief nor to a Brechtian kind of alienation, but to pleasure, something a man can call good without self-disgust.”

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Pauline Kael книга Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“Goodman: Imitation is the sincerest form of flattery.
Kael: I hate it. It is very creepy being imitated.”

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Pauline Kael

Interview with Susan Goodman, Modern Maturity (March/April 1998) http://www.paulrossen.com/paulinekael/modernmaturity.html. <br class="br">Interviews

“In the sixties, the recycling of pop culture — turning it into Pop art and camp — had its own satirical zest. Now we're into a different kind of recycling. Moviemakers give movies of the past an authority that those movies didn't have; they inflate images that may never have compelled belief, images that were no more than shorthand gestures — and they use them not as larger-than-life jokes but as altars.”

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Pauline Kael книга State of the Art

"A Bad Dream/A Masterpiece," review of The Moon in the Gutter (1983-09-19), p. 48.
State of the Art (1985)

“The small triumph of "The Graduate" was to have domesticated alienation and the difficulty of communication, by making what Benjamin is alienated from a middle-class comic strip and making it absurdly evident that he has nothing to communicate — which is just what makes him an acceptable hero for the large movie audience. If he said anything or had any ideas, the audience would probably hate him.”

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Pauline Kael книга Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“Movies make hash of the schoolmarm’s approach of how well the artist fulfilled his intentions. Whatever the original intention of the writers and director, it is usually supplanted, as the production gets under way, by the intention to make money — and the industry judges the film by how well it fulfills that intention. But if you could see the "artist’s intentions" you’d probably wish you couldn’t anyway. Nothing is so deathly to enjoyment as the relentless march of a movie to fulfill its obvious purpose. This is, indeed, almost a defining characteristic of the hack director, as distinguished from an artist.”

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Pauline Kael книга Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“Whom could this operetta offend? Only those of us who, despite the fact that we may respond, loathe being manipulated in this way and are aware of how cheap and ready-made are the responses we are made to feel. We may become even more aware of the way we have been turned into emotional and aesthetic imbeciles when we hear ourselves humming the sickly, goody-goody songs. The dauntless, scrubbed-face heroine (Julie Andrews), in training to become a nun, is sent from the convent to serve as governess to the motherless Von Trapp children, and turns them into a happy little troupe of singers before marrying their father (Christopher Plummer). She says goodbye to the nuns and leaves them outside at the fence, as she enters the cathedral to be married. Squeezed again, and the moisture comes out of thousands--millions--of eyes and noses. Wasn't there perhaps one little Von Trapp who didn't want to sing his head off, or who screamed that he wouldn't act out little glockenspiel routines for Papa's party guests, or who got nervous and threw up if he had to get on a stage? The only thing the director, Robert Wise, couldn't smooth out was the sinister, archly decadent performance by Christopher Plummer--he of the thin, twisted smile; he seems to be in a different movie altogether.”

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Pauline Kael

"The Sound of Music," p. 697
5001 Nights at the Movies (1982)

“I am mystified. I know only one person who voted for Nixon.”

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Pauline Kael

Attributed to Kael after the 1972 American Presidential election, which Nixon won easily. This misquote is presumably based on "I live in a rather special world." above, but there is no evidence that Kael was mystified or surprised by that election's outcome.
Misattributed

“What's disgusting about the Dirty Harry movies is that Eastwood plays this angry tension as righteous indignation.”

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Pauline Kael книга Hooked

"Pop Mystics," review of Pale Rider (1985-08-12), p. 17.
Hooked (1989)

“Moviemaking is so male-dominated now that they think they’re being pro-feminine when they have women punching each other out.”

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Pauline Kael

Interview with Susan Goodman, Modern Maturity (March/April 1998).
Interviews

“One of the biggest box-office successes in movie history — probably because for young audiences it's like getting a box of Cracker Jack that is all prizes. Written and directed by George Lucas, the film is enjoyable in its own terms, but it's exhausting, too: like taking a pack of kids to the circus. There's no breather in the picture, no lyricism; the only attempt at beauty is in the image of a double sunset. The loudness, the smash-and-grab editing, and the relentless pacing drive every idea out of your head, and even if you've been entertained, you may feel cheated of some dimension — a sense of wonder, perhaps. It's an epic without a dream.”

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Pauline Kael

"Star Wars," p. 714.
5001 Nights at the Movies (1982)

“Earlier generations went to see what was forbidden in life and developed a real excitement about the movies. Today’s rating system keeps kids out of the good ones. I wouldn’t want them to see movies like Natural Born Killers, but my tendency is you’re better off seeing things than not. That glazed indifference kids develop can be worse than over-excitement.”

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Pauline Kael

Interview with Susan Goodman, Modern Maturity (March/April 1998).
Interviews

“The critical task is necessarily comparative, and younger people do not truly know what is new.”

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Pauline Kael книга Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“The recurrence of certain themes in movies suggests that each generation wants romance restated in slightly new terms, and of course it’s one of the pleasures of movies as a popular art that they can answer this need. And yet, and yet — one doesn’t expect an educated generation to be so soft on itself, much softer than the factory workers of the past who didn’t go back over and over to the same movies, mooning away in fixation on themselves and thinking this fixation meant movies had suddenly become an art, and their art.”

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Pauline Kael книга Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“Apparently, Lillian Hellman couldn't shake off the predatory Hubbards after "The Little Foxes"; she wrote this play about the same family, setting it back 30 years earlier in their dark history. The Hubbards, who are supposed to be rising Southern capitalists, are the greatest collection of ghouls since "The Old Dark House" of 1932. Hellman must combine witchcraft with stagecraft — who else could keep a plot in motion with lost documents, wills, poisonings, and pistols, and still be considered a social thinker?”

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Pauline Kael

"Another Part of the Forest," p. 30.
5001 Nights at the Movies (1982)

“At the movies, we are gradually being conditioned to accept violence as a sensual pleasure. 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 don't have to be very keen to see that they are now in fact desensitizing us. They are saying that everyone is brutal, and the heroes must be as brutal as the villains or they turn into fools. There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. 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. If we don't use this critical freedom, we are implicitly saying that no brutality is too much for us — that only squares and people who believe in censorship are concerned with brutality. Actually, those who believe in censorship are primarily concerned with sex, and they generally worry about violence only when it's eroticized. This means that practically no one raises the issue of the possible cumulative effects of movie brutality. Yet surely, when night after night atrocities are served up to us as entertainment, it's worth some anxiety. We become clockwork oranges if we accept all this pop culture without asking what's in it. How can people go on talking about the dazzling brilliance of movies and not notice that the directors are sucking up to the thugs in the audience?”

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Pauline Kael книга Deeper into Movies

"Stanley Strangelove" (January 1972) http://www.visual-memory.co.uk/amk/doc/0051.html, review of A Clockwork Orange <br class="br">Deeper into Movies (1973)