Those who follow film will inevitably come across Pauline Kael’s critical writing, since she has — for good or ill — been an influential ‘voice’ (I use this term loosely) in film crit, helping to not only shape abysmal, only-in-it-for-the-controversy poseurs such as Armond White (just check out his fey, insecure manner in this pointless interview), but film-goers, as well, who suddenly had intellectual back-up for their personal like or dislike of now-classic films. She’s trashed Stanley Kubrick, she’s trashed Ingmar Bergman, she’s trashed Federico Fellini, Terrence Malick, John Cassavetes, Michelangelo Antonioni — not out of any real, logical argument, but just ’cause she wanted to, and was able to get away with such. And, predictably, fans of these directors have, not been very happy, but communicated their anger merely by throwing up their hands, or cutting Pauline Kael down a well-placed insult. Sure, she deserves all this (and more!), but just as with the Internet rants directed towards Jonathan Rosenbaum, there’s been few systematic dissections of her work, wherein the reasons for her poorness as a critic are made clear, film by film, and line by line, which is really what her work calls for.
Anger is good, at times, but it needs a real, substantive foundation for it to matter, or else it’ll first be interpreted as having no justification, and then merely dissipate. In the arts, however, things absolutely need a nudge in the right direction, and it is argument (despite what’s commonly thought) that helps clarify and polish up the best art, all the while killing off the worst. For this reason, I wrote a lengthy take-down of Pauline Kael vis-a-vis the work of one film director, so that, in reading her reviews thematically, as well as side-by-side, one sees her flaws quite well, and can therefore extrapolate them to the rest of her work.
What’s In A Name? Six Major Critics Of Woody Allen
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Critic #3: Pauline Kael
…If the above three critics are Woody champions, the next three can be thought of as his chief detractors. The first and by far the most influential is Pauline Kael, who, at her peak, was the top film critic at The New Yorker from 1968 to 1991, and a well-known writer even before this. She was quite feared for her reviews, much read by the literati, and her mode of attack (often ad hominem, and sometimes explicitly racial) only intensified with time. Yes, Pauline Kael was a celebrity, but unlike, say, Roger Ebert, who’d ultimately champion and supplant her in style and longevity, she was a celebrity for the intelligentsia, and while she has deeply influenced people as diverse as Armond White (in some ways, her successor) and Quentin Tarantino, you’d be hard-pressed to find many young filmgoers who look up to her today, … Continue reading →