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Кейл, Полин цитаты
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Поли́н Кейл — американская журналист и кинокритик, сотрудница еженедельника «Нью Йоркер», которая в 1970-е и 1980-е годы воспринималась как самый влиятельный кинокритик не только США, но и всей планеты. Будучи известна взрывным, конфликтным характером, Кейл неоднократно признавала: «Меня часто обвиняли, что я пишу о чём угодно, только не о фильме».

✵ 19. Июнь 1919 – 3. Сентябрь 2001
Кейл, Полин фото
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Кейл, Полин цитаты

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

Кейл, Полин
О школе , Об исскустве , Об удовольствии

Кейл, Полин: Цитаты на английском языке

“A filmed play like this doesn't offer the sensual enjoyment that movies can offer, but you don't go to it for that; you go for O'Neill's crude, prosaic virtuosity, which is also pure American poetry, and for the kind of cast that rarely gathers for a stage production. […] Larry, a self-hating alcoholic, is a weak man and a windbag, but Ryan brings so much understanding to Larry's weakness that the play achieves new dimensions. Ryan becomes O'Neill for us; he has O'Neill's famous "tragic handsomeness" and at the end, when Larry is permanently "iced" — that is, stripped of illusion — we can see that this is the author's fantasy of himself […] Fredric March interprets Harry Hope with so much quiet tenderness that when Harry regains his illusions and we see March's muscles tone up, we don't know whether to smile for the character or the actor.”

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Pauline Kael

"The Iceman Cometh," pp. 353-354
5001 Nights at the Movies (1982)

“The action genre has always had a fascist potential, and it surfaces in this movie.”

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Pauline Kael

"Dirty Harry," p. 191.
5001 Nights at the Movies (1982)

“There is a dreadful discrepancy between Michelangelo's works and the words put into the mouth of Charlton Heston, who represents him here, and this picture — which is mostly about a prolonged wrangle between the sculptor and Pope Julius II (Rex Harrison), who keeps sweeping into the Sistine Chapel and barking, "When will you make an end of it?"”

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Pauline Kael

isn't believable for an instant.
"The Agony and the Ecstasy," p. 11.
5001 Nights at the Movies (1982)

“Picasso has a volatile, explosive presence. He seems to take art back to an earlier function, before the centuries of museums and masterpieces; he is the artist as clown, as conjurer, as master funmaker.”

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Pauline Kael

"Le Mystère Picasso," p. 511.
5001 Nights at the Movies (1982)

“Watching old movies is like spending an evening with those people next door. They bore us, and we wouldn't go out of our way to see them; we drop in on them because they're so close. If it took some effort to see old movies, we might try to find out which were the good ones, and if people saw only the good ones maybe they would still respect old movies. As it is, people sit and watch movies that audiences walked out on thirty years ago. Like Lot's wife, we are tempted to take another look, attracted not by evil but by something that seems much more shameful — our own innocence.”

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Pauline Kael книга Kiss Kiss Bang Bang

"Movies on Television".
Kiss Kiss Bang Bang (1968)

“Hilariously florid — sometimes referred to as "Lust in the Dust." This Wagnerian western features Gregory Peck and Jennifer Jones as lovers so passionate they kill each other. She's Pearl Chavez, a half-breed wench, and so, by Hollywood convention, uncontrollably sexy, and Peck actually manages to bestir himself enough to play a hunk of egotistical hot stuff — maybe the name Lewt McCanles got to him, or maybe the producer, David O. Selznick, used electric prods. Peck clangs his spurs and leers, while Jones heaves her chest; when they kiss, lightning blazes.”

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Pauline Kael

"Duel in the Sun," p. 206.
5001 Nights at the Movies (1982)

“A woman who taught at Berkeley dropped in on me once and saw a book burning in the fireplace. She pointed at it in terror, and I explained that it was a crummy ghostwritten life of a movie star and that it was an act of sanitation to burn it rather than sending it out into the world which was already clogged with too many copies of it. But she said, "You shouldn’t burn books" and began to cry.”

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Pauline Kael

The New Republic, December 24, 1966

“Moviegoers like to believe that those they have made stars are great actors. People used to say that Gary Cooper was a fine actor — probably because when they looked in his face they were ready to give him their power of attorney.”

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Pauline Kael книга Movie Love

"Potency," review of Born on the Fourth of July (1990-01-22), p. 254.
Movie Love (1991)

“Regrettably, one of the surest signs of the Philistine is his reverence for the superior tastes of those who put him down.”

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Pauline Kael

“It tackles a wonderful subject without preening, and brings it off unassertively — so unassertively that the movie is in danger of being overlooked. (Variety has already dismissed it as something "for a very limited audience.") We're getting to the point where the press assumes that movie audiences won't be willing to bring anything to a picture, and warns them off.”

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Pauline Kael книга State of the Art

"Circus," review of Moscow on the Hudson (1984-04-16), p. 160.
State of the Art (1985)

“Unlike storybook heroes and heroines but like many actual heroes and heroines, she was something of a social outcast.”

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Pauline Kael книга State of the Art

As Simone Weil noted, it was the people with irregular and embarrassing histories who were often the heroes of the Resistance in the Second World War; the proper middle-class people may have felt they had too much to lose.
"Busybody," review of Silkwood (1984-01-09), p. 107.
State of the Art (1985)

“If we make any kind of decent, useful life for ourselves we have less need to run from it to those diminishing pleasures of the movies. When we go to the movies we want something good, something sustained, we don’t want to settle for just a bit of something, because we have other things to do. If life at home is more interesting, why go to the movies? And the theatres frequented by true moviegoers — those perennial displaced persons in each city, the loners and the losers — depress us. Listening to them — and they are often more audible than the sound track — as they cheer the cons and jeer the cops, we may still share their disaffection, but it’s not enough to keep us interested in cops and robbers. A little nose-thumbing isn’t enough. If we’ve grown up at the movies we know that good work is continuous not with the academic, respectable tradition but with the glimpses of something good in trash, but we want the subversive gesture carried to the domain of discovery. Trash has given us an appetite for art.”

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Pauline Kael книга Going Steady

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

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