Between sense and sensibility, Kael would always choose the latter. Read critic reviews And some of its most interesting questions are raised only implicitly. Pauline’s own story is one of struggle … It’s also a great place to start if you know nothing about her. She desperately wanted movies to make her feel things, and was ruthless when they didn’t. What She Said: The Art of Pauline Kael Review. Through the smog of distractions, a portrait emerges of a uniquely gifted, complicated, arrogant and combative writer, one whose abhorrence of sentimentality caused her to savage “The Sound of Music” and the “inhumanly happy” performance of its star, Julie Andrews. The film also tries to pack an entire lifetime into its 100 minutes, which often gives the feeling of rushing through the major events of Kael’s life. When you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission. Executive Produced by Bobby Campbell Produced by Rob Garver, Glen Zipper Directed and Edited by Rob Garver Pauline’s Voiceover Performed by Sarah Jessica Parker Featuring Alec Baldwin, David O. Russell, Francis Ford Coppola, Paul Schrader, Ridley Scott, Quentin Tarantino . (Her 1972 review of “Last Tango in Paris” became the movie’s ad campaign.) Instead, he says, he was a Paulinista. as Pauline's Voice Over, Jane Fonda and Norman Lear to Receive Honorary Awards at the 78th Annual Golden Globe Awards on February 28th, Mike Nichols: A Life is a Must-Read Memoir, NBC’s Debris Feels Like a Throwback to Post-Lost Mysteries, Netflix's Ginny & Georgia Never Finds Its Own Identity. Kael was among the first to treat films like Martin Scorsese's "Mean Streets," Brian de Palma's "Carrie" and "Dressed to Kill," Arthur Penn's "Bonnie and Clyde," and Bernardo Bertolucci’s "Last Tango in Paris" as fully-realized works of art, not just genre films. The film is now also available on DVD and Blue-ray through Amazon. Her tenure at The New Yorker, from 1968-91, coincided with a seismic eruption in American independent filmmaking. WHAT SHE SAID: THE ART OF PAULINE KAEL is a good enough portrait of the late doyenne of film criticism. She was especially well matched for the movies of the 1970's, when a new group of brash, rule-breaking hotheads arrived in Hollywood, documented in Peter Biskind's excellent Easy Riders, Raging Bulls. And what does being a critic do to a person? What She Said: The Art of Pauline Kael 2018 Directed by Rob Garver Women in Cinema Wittily illustrated and packed with quotations from her film reviews (read by Sarah Jessica Parker), Rob Garver’s doco explores New Yorker writer Pauline Kael’s evolution from failed playwright and struggling single mother to critical powerhouse. Share Tweet. life and work of America’s best-known — and most written about — film critic, caused her to savage “The Sound of Music”, Her infamous 1985 pan of the nine-hour Holocaust documentary, “Shoah,”, an early-1980s interview with Britain’s Melvyn Bragg, Renata Adler’s brutal 1980 takedown of Kael. ‘What She Said’ Review: Pauline Kael, Screen Queen. WHAT SHE SAID: THE ART OF PAULINE KAEL (Rob Garver). “She made Scorsese with her review of ‘Mean Streets,’” one contributor claims, but it’s at least equally true that the movies made her. She is the author of The Movie Mom's Guide to Family Movies and 101 Must-See Movie Moments. “In the end of the game, what Pauline Kael promoted wasn’t film,” the filmmaker Paul Schrader says, wryly. Maybe these clips are meant to convey the magic of cinema that so captivated Kael from the first film she saw, sitting on her parent's lap, but too often they are superfluous and distracting. In Garver’s film, What She Said: The Art of Pauline Kael, we do get the warts, but they’ve been airbrushed, even if only slightly. It is clear from the title that Garver sees Kael as as much of an artist as the filmmakers she wrote about. Her distinctive voice pioneered the art form, and was largely a result of stubborn determination, huge confidence, and a deep love of the arts. The titles of her books about movies were overtly sexual: I Lost It at the Movies, Deeper Into Movies, Taking It All In. But she also engaged with it like DiCaprio and a horse in that film, ripping it open to huddle inside for warmth. Hers was a profoundly sensual approach (which she cheekily flaunted in book titles like “Kiss Kiss Bang Bang”) that caused her to celebrate pictures that many viewed as pulp. What have we lost by replacing public intellectuals with reality show "celebrities" as influencers? "She turned lack of self-awareness into a triumph," says playwright John Guare. 'What She Said: The Art of Pauline Kael': Berlin Review By Jonathan Romney 2019-02-18T13:19:00+00:00 Documentary about the career and influence of seminal film critic Pauline Kael The website's consensus reads, "What She Said: The Art of Pauline Kael clearly outlines the gifts that made its subject special while offering an … On the website Rotten Tomatoes, the film has an approval rating of 88%, based on 66 reviews, with an average rating of 6.90/10. George Roy Hill, furious about her review of "Butch Cassidy and the Sundance Kid" began his letter to her, "Listen, you miserable bitch." Pauline Kael (1919-2001) was likely the most powerful, and personal, movie critic of the 20th century. So was she: an anti-academic, chattily entertaining prose that read as both hard-bitten and strangely needy. Her infamous 1985 pan of the nine-hour Holocaust documentary, “Shoah,” which she found “exhausting,” continues to reverberate. WHAT SHE SAID: THE ART OF PAULINE KAEL DIRECTED AND EDITED BY ROB GARVER Wednesday, December 25 – Tuesday, January 7 12:30 2:30 4:30 7:00 9:10 “The most powerful, loved, and hated film critic of her time.” – Roger Ebert on Pauline Kael (1919-2001). Published. From 1968-1991, Pauline Kael reviewed movies for the New Yorker, and her writing was an art form of its own, passionate, visceral, voracious, fearless, and utterly singular. Rob Garver’s engaging new documentary “What She Said: The Art of Pauline Kael” is a must for any film fan. William Cutshaw. When Renata Adler, briefly a New York Times film critic did a take-down of Kael's work, meticulously documenting inconsistencies like she was filing a brief in appellate court, she failed to understand that, like Emerson, Kael thought foolish consistencies were the hobgoblins of little minds. I’m nervous even thinking about what she’d say about my take on it. In a field that has historically embraced few women film critics, Kael was controversial, witty, and fiercely discerning. Writing for The New Yorker and publishing a dozen best-selling books, she ruthlessly pursued what made a movie or an actor’s performance work, or not, and why. She was scornful of the "auteur theory" proposed by Andrew Sarris, as described here by his widow, Molly Haskell, also a film critic and scholar. Her passion made her both admired and despised amongst her readers and her subjects. It is almost impossible to overstate Pauline Kael’s influence on film criticism. A Californian native, she wrote her first review in 1953 and joined ‘The New Yorker’ in 1968. What She Said: The Art of Pauline Kael clearly outlines the gifts that made its subject special while offering an engaging overview of her remarkable life and career. A numbing torrent of largely unidentified film clips and poorly labeled commentary, Rob Garver’s overstuffed tribute to the life and work of America’s best-known — and most written about — film critic is at times barely coherent. Unlike its subject, the documentary “What She Said: The Art of Pauline Kael” merely feints toward criticism. Marlene Dietrich wrote from Paris to make sure she could continue to get the New Yorker in France, telling Kael, "I am quite lost without your opinions on films.". After a great theatrical and virtual run in North America that began in December, we're now available on most digital platforms, including Amazon and iTunes, for purchase or rent. From 1968-1991, Pauline Kael reviewed movies for the New Yorker, and her writing was an art form of its own, passionate, visceral, voracious, fearless, and utterly singular. Her tenure at The New Yorker, from 1968-91 (with a brief break to dabble, unsuccessfully, in film production with Warren Beatty), happily coincided with a seismic eruption in American independent filmmaking, when young directors like Martin Scorsese, Robert Altman and Brian De Palma were developing their personal styles. What She Said opens at Film Forum in Manhattan today. What She Said: The Art of Pauline Kael movie reviews & Metacritic score: Pauline Kael was likely the most powerful, and influential, movie critic of the 20th century. It was perhaps a strength as a critic and a weakness as a person that she never understood how painful her words could be. “It was her.”. She engaged with film like "The Revenant"'s Leonardo DiCaprio engaged with the bear, as though she and the film were trying to rip each other apart. Opens Friday (January 17). A celebration of the pleasure of intellectual and emotional response to art. The director David Lean (seen here in a sad segment from an early-1980s interview with Britain’s Melvyn Bragg) even confesses he stopped working for a time after Kael and others lambasted him in person for “Ryan’s Daughter.” Commenters allow that she could be cruel; yet you don’t have to agree with Renata Adler’s brutal 1980 takedown of Kael to wish that Garver had paid more attention to her alleged plagiarism and the questionable ethics of her interactions with filmmakers and fledgling writers whose work she sought to influence. We see glimpses of notes from New Yorker editor William Shawn, deeply distressed over what today we might call graphic and explicit language. Photo Credit: Juno Films . Kael’s biting reviews were, indeed, divisive to say the least; she had as many detractors as she did appreciators. Ridley Scott was so shaken by a Kael comment he said he never read another review—from anyone. Steven Spielberg sent a telegram to New Yorker film critic Pauline Kael to tell her that she was the only critic who understood "Jaws." Musters a heavyweight crowd of admirers and acolytes - with the odd demuring voice - and assembles a kaleidoscopic montage of … I suppose there isn't much else worth noting about Kael the person other than what is mentioned in this. What She Said: The Art Of Pauline Kael. The flip side was a disdain for the cool anomie of foreign art-house darlings like “Hiroshima Mon Amour” and “La Notte,” works that committed the unforgivable sin of boring her. Pauline Kael, the New Yorker film critic for 25 years until the early 1990s, was a lightning rod of American culture. Her only standard, and one she applied to every movie: don't bore me. Running time: 1 hour 38 minutes. Pauline Kael What She Said: The Art of Pauline Kael movie reviews & Metacritic score: Pauline Kael was likely the most powerful, and influential, movie critic of the 20th century. What would Kael think of this film? Probably that it was too conventional, just a mix of talking heads and archival clips, and not as lively as her own prose. The New Yorker film critic Pauline Kael battled to make her mark -- fueled by brilliance, unshakable self-confidence, a complicated past, and a deep love of the arts. She was ruthless about films that were adored by the intelligentsia like the Holocaust documentary "Shoah" and the European films she unforgettably classified as the "Come Dressed as the Sick Soul of Europe Party" movies. As a girl who grew up on a chicken farm in Petaluma, California, she was an outsider to the conventionally genteel world of New York magazine writing, inspired by the wisecracking, independent-minded heroines of the heroines of the 1930s movies she grew up watching. What She Said: The Art of Pauline Kael Documentary on the life and writings of Pauline Kael, legendary film critic for The New Yorker magazine. She "brought a rare exhilaration to movies," one commenter explains in "What She Said: The Art of Pauline Kael," a biographical documentary/appreciation, from first-time feature writer/director Rob Garver . She responded viscerally to the erotic energy of Bernardo Bertolucci’s “Last Tango in Paris” and the violent pathos of Arthur Penn’s “Bonnie and Clyde,” a movie she single-handedly rescued from a critical mauling. “She elevated film criticism to an art form, rather than just mere commentary…”. Her work was refreshing in refusing to find a distinction between high and low art. She waged a battle to be recognized and her opinions made her readers hate or love her. Forced to compete with a near-constant barrage of movie fragments — some with only the most tenuous connection to the text — Kael’s distinctively passionate voice (smoothly narrated from her letters and essays by Sarah Jessica Parker) is disastrously muffled. #WhatSheSaid: The Art of #PaulineKael (2019) Official Trailer | #DocumentaryCheck out the official Trailer ! For her, while "La Dolce Vita," "La Notte," and "Last Year at Marienbad" were scathing attacks on a society that was self-indulgent, decadent, and shallow, those terms were equally applicable to the movies themselves. Thanks to all of our audience who have enjoyed and supported "What She Said: The Art of Pauline Kael." She was never one to stray away from a fight, championing movies that other critics derided and vice versa. "Why should we care that they can't talk to each other if we don't know what they would say to each other if they could?". Written and directed by Rob Garver. The documentary is most insightful when it identifies Kael's influences, strengths and weaknesses, the last including a failed attempt to be a filmmaker herself after Warren Beatty brought her to Hollywood. ‘What She Said: The Art of Pauline Kael’ (review) By. Kael’s distinctively passionate voice, competing with movie fragments, is disastrously muffled, as are those of her admirers and detractors. What She Said: The Art of Pauline Kael is an affectionate look at her life and career, mostly her tumultuous tenure - to say the least - at The New Yorker. One letter she reads from a listener to her radio shows suggests she couldn’t make films herself because she’s a woman. by Jonathan Romney The Guardian. As are those of her admirers and detractors, the colleagues and filmmakers whose revelations and insights, however sharp or spicy, are so smushed together that I was constantly hitting “Rewind.” Theater audiences won’t have that luxury. Through new interviews, archival footage and photos, the film reveals just how important Kael's voice was, not only to her readers, but fellow critics and bigwigs in the movie industry (including those who hated her). written by Daniel Reynolds January 15, 2020. ‘What She Said: The Art of Pauline Kael’ Review: A Deep Dive into America’s Most Influential Film Critic. She even got fired from McCall’s for her scathing review of The Sound of Music, which is one of the most beloved films of all time (by most, I’m kind of on board with Kael on this one). What She Said pulls no punches on Kael’s complicated and sometimes contradictory life and work, but rightly hails her genius, her fervor, her voracious appetite for all sorts of art (music, theater, and literature all informed her approach to film). James acknowledges without rancor that her mother "couldn't not be critical," and brought that kind of judgment to everything and everyone, not just films and filmmakers. The documentary is also interspersed with film clips, a few to illustrate selections from her reviews and commentary, like how the famous overhead shot in the Library of Congress from "All the President's Men" is used to illustrate a point about quantities of material. Pauline Kael (1919–2001) was undoubtedly one of the greatest names in film criticism. She passed from Parkinson’s in 2001 at the age of 82.One of the most powerful themes running through What She Said: The Art of Pauline Kael is the resistance Kael met as a woman with strong opinions. Nell Minow reviews movies and DVDs each week as The Movie Mom online and on radio stations across the US. Pauline Kael, Screen Queen Kael’s distinctively passionate voice, competing with movie fragments, is disastrously muffled, She probably tried that just to tweak the quiet, gentle man, but she was determined to "get away from term paper pomposity" and refuse any deference to authority, like the brash American New Wave filmmakers she championed. 98 minutes. Pauline Kael, as seen in “What She Said,” directed by Rob Garver. I most enjoyed hearing from the subject herself, as well as from her daughter, Gina James. Hitting all these bullet points and more, Garver sacrifices depth for breadth, squeezing in some of the hurt feelings and lingering grievances that Kael (who died in 2001) left behind. It’s also a great place to start if you know nothing about her. February 21, 2020. Her vivid and lively writing, narrated by Sarah Jessica Parker, is interspersed with archival footage of Kael herself and commentary from the usual group of colleagues and commentators, including her daughter, Gina James, and New York Magazine film critic David Edelstein, who insists that he was not a "Paulette" (a usually derisive term for the group of young film critics she mentored, helped get jobs, and then badgered to join her in supporting films she considered worthy). What She Said: The Art of Pauline Kael, Rob Garver’s portrait of the influential, combative film critic, maker of reputations and ruthless scourge of mediocrity. For more information about the film, go to www.paulinekaelmovie.com Tagged Andrew Sarris David O. Russell Film Forum Gina James Pauline Kael Quentin Tarantino Rob Garver The New Yorker What She Said: The Art of Pauline Kael as Herself (archive footage), Sarah Jessica Parker Rob Garver’s entertaining documentary, “What She Said: The Art of Pauline Kael” delves into the life and times of the by turns vicious, uncompromising, insightful, and supportive cinephile. We can only wonder what Pauline Kael, one of the most well-known film critics of all-time, would say regarding a movie about her own work and life. She "brought a rare exhilaration to movies," one commenter explains in "What She Said: The Art of Pauline Kael," a biographical documentary/appreciation, from first-time feature writer/director Rob Garver. She was equally refreshing, if sometimes frustrating, in refusing to make any effort at consistency or applying a standard set of criteria. Yet this nostalgia for a possibly misremembered past in which critics wielded life-or-death clout hovers insistently over “What She Said.” And it’s clear that Kael herself bought into that belief and felt justified in bullying artists who rejected her advice: She considered it her job to guide them. To see Rob Garver’s affectionate documentary about her career, “What She Said: The Art of Pauline Kael,” is to be once again swept away by the excitement of cinema as she experienced it. It not only explores the special talent of Kael and what made her famous, but it is also a snapshot of a volatile and exciting era of film history, when the young guns of Hollywood dispensed with the old studio era — and the restrictive Production Code — once and for all. Not rated. What She Said: The Art of Pauline Kael is a wonderful visitation of the famed critic’s life.
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