Rigid in her beliefs, New
Yorker film critic Pauline Kael refused to see a movie twice. She stuck
with her gut reaction, defended the lowbrow, and respected artistic risk. Kael
often carried her reviews to the extreme of examining social trends at the
expense of a film’s technical or aesthetic qualities, making her a pioneer of
film criticism and a defining figure of twentieth century cinema.
Her review of “Hiroshima Mon Amour” embodied her willingness
to go against the critical grain and probe a film’s psycho-emotional
complexities. Kael questioned her peers’ universally glowing reviews and
challenged the work’s creative substance. Perhaps the strongest aspect of this
review is her analysis of intellectual undertones in a vernacular and honest
voice.
Kael fearlessly followed her gut in praises and pans.
Although some fear criticism’s polarized spectrum, Kael’s biting prose
attracted followers while reshaping critical standards. Ken Tucker noted on
Salon.com, “Foes, too, hard their own favorite Kael pieces.” Her writing style
and voice have transcended film criticism and filtered into new fields.
Throughout her career, Kael lauded filmmakers for pushing
the medium’s limits, notably when she told Francis Davis in an interview her
favorite decade in cinema history was the 1970s. Others expected her to say the
classical Hollywood era of the 1930s/1940s, but Kael said, “There were
directors coming along who really brought something new to the medium.”
Creative expression and artistic jumps were praised by Kael; stale techniques
and stories were not.
Perhaps her resounding belief in film as art mostly strongly
guided her criticism. She said, “One of the great things about movies is they
can combine the energy of a popular art with the possibilities or a high art.”
Kael’s own writing style reflected this tenet by using common language to
investigate complex emotional insights.
Detractors such as Renata Adler have criticized her limited
vocabulary, reliance on images, and use of rhetorical questions. Adler said,
“Mistaking lack of civility for vitality, she now substitutes for an argument a
protracted, obsessional invective…” While her controversial topic choice and
writing style were sure to garner enemies, haters nevertheless paid continuous
attention to Kael’s craft and contribution.
Modern film criticism was affected by Kael’s unwavering
reactions and slicing prose. It’s impossible to divorce her writing from the genre
or understate her impact on legions of young critics. Kael was an overwhelmingly
positive influence on arts criticism and her legacy lives on after death.
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