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Deeper into Movies (1973)

de Pauline Kael

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The celebrated movie critic voices her opinions on a host of recent American and foreign films that have graced the screen.
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As well as some witty and informed reviews of "The Godfather", McCabe and Mrs Miller, this anthology also contains an essay entitle "Numbing the Audience". A good read. ( )
  DinadansFriend | Jun 15, 2017 |
In reading Pauline Kael's “Deeper Into Movies,” I realized that she includes the cosmos, but with no strain at all. I don't think she could keep it out, and I hope she never tries. Her typical piece not only evaluates the movie itself: It also presents you with A theory of film‐making, of acting, directing, shooting, script writing, everything. It tells you how these and other aspects of film are influenced by, or cater to, the quality and condition of life in America today. Reading a Pauline Kael review gives you a pretty good idea of the current state of our morality, our esthetics, our politics—and, yes, I might as well say it: our souls...

The author is a formidable literary critic when she defends books like “Women in Love” and “Tropic of Cancer” from oversimplification or flattening for cheap effects. Generally, she finds the “new” movies most sentimental about youth and most despairing about America. “Austere mortification of the audience” is so, well established by now as a sign of “seriousness” that the most gratuitous attack will stretch a masochistic line around the block. Among her personal dislikes, Miss Kael lists “brain‐damaged heroes; virgins driven mad (particularly when played by. Sandy Dennis); aging virgins (particularly when played by Joanne Woodward); anything with Anthony Quinn as a peasant; and Christ figures.”
afegit per SnootyBaronet | editaNew York Times, Anatole Broyard (Feb 23, 1973)
 

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A college-professor friend of mine in San Francisco who has always tried to stay in tune with his students looked at his class recently and realized it was time to take off his beads.
Author's Note: This collection of my reviews from the New Yorker for September 1969 to March 1972 is also a record of the interaction of movies and our national life during a frantic time when three decades seem to have been compressed into three years and I wrote happily — like a maniac — to keep up with what I thought was going on in movies — which is to say, in our national theatre.
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Inexplicably, despite everything — the suicidal practices of the film industry, the defeat of many people of talent, the financial squeeze here and abroad —this has been a legendary period in movies. Just since last March: The Conformist, McCabe & Mrs. Miller, Sunday Bloody Sunday, The Last Picture Show, Fiddler on the Roof, Murmur of the Heart, The Garden of the Finzi-Continis, Cabaret, The Godfather, and, of course, the films one may have major reservations about—-the smash-bang cops-and-robbers. The French Connection and the controversial A Clockwork Orange and Straw Dogs...

A reviewer could hardly ask for more from any art, high or popular, and that list shows how far movies have gone in blurring the distinction.
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The celebrated movie critic voices her opinions on a host of recent American and foreign films that have graced the screen.

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