Interviews with Pauline Kael, movie critic for the New Yorker from 1968 to 1991.
... The Neville Brothers ( “ Sister Rosa , " 1987 ) ; Les Frères Parent and The Neville Brothers ( “ Konbit , " 1988 ) ; The Feelies ( “ Away , " 1988 ) ; KRS - One ( “ Heal , " 1990 ) ; Steve Earle ( “ Rich Man's War , " 2004 ) .
As a collection, CinemaTexas Notes strongly contradicts the notion of an effortlessly formed American film canon, showing instead how local film cultures—whether in Austin, New York, or Europe—have forwarded the development of film ...
attorney and later dean of Columbia College, Greenberg's wife, and Pauline all to dinner at his apartment. Simmons made a baked ham, and when they all sat down to dinner, Mrs. Greenberg exclaimed, “I can't eat that!
This collection of essays on Pauline Kael investigates the range, scope, and influence of Kael’s film criticism over the years (1968-81) that she wrote for The New Yorker.
92 · the source of the film's strange and seductive mixture of tones: Brickman has made a lyrical, ... Everyday life shades imperceptibly into a dream, just as Brickman shades his shots from coolly framed objectivity into the sinuous ...
Here are her appraisals of era-defining films such as Breathless, Bonnie and Clyde, The Leopard, The Godfather, Last Tango in Paris, Nashville-along with many others, some awaiting rediscovery, all providing the occasion for masterpieces of ...
... infinitely touching Willow painting sapphic verses on her lover Tara's back , Spike thrusting into love's void and sinking like a millstone , Giles wearing his English reserve as a coat of armor against his own pagan nature .
He finally took one of them—a Roger Corman exploitation picture called Boxcar Bertha —because he needed to direct again. “Corman thinks it's an exploitation picture,” Scorsese told me, “but I think it'll be something else.
... Jonathan Demme's landmark concert film that documented the 1983 tour of rock band Talking Heads—Pauline Kael commended Demme's “decision to keep the camerawork steady... and to avoid hotsy-totsy, MTV-style editing.” That restraint, she ...