RIP Andrew Sarris, the legendary film critic who popularized the auteur theory in the United States, sparred with arch-rival Pauline Kael, and helped define American film criticism. [more inside]
The French romantic thriller “Diva” dashes along with a pellmell gracefulness, and it doesn’t take long to see that the images and visual gags and homages all fit together and reverberate back and forth. It’s a glittering toy of a movie... This one is by a new director, Jean-Jacques Beineix... who understands the pleasures to be had from a picture that doesn’t take itself very seriously. Every shot seems designed to delight the audience. - Pauline Kael, 1982 [more inside]
CityLights interview with Pauline Kael -- 1::2::3::4 (approx. 40 mins, NSI, 1982) Topics include Cecil B. Demille, Robert Preston, John Boorman’s Zardoz, Sean Connery, Roger Moore, James Bond films, and Lorenzo Semple Jr. More interviews from the National Screen Institute and Brian Linehan here, including John Candy, Eugene Levy, Christopher Plummer, and Ian McKellen
What was it like during the Great Depression? University of Oregon Economist Mark Thoma links to interviews by Studs Terkel which deal with the Great Depression. All interviews in Real Player format. Interviewees: Gardner C. Means, economic adviser to FDR. Peggy Terry, a migrant farm worker (my favorite interview). Virginia Durr, civil rights activist. Ed Paulsen, dayworker. Emma Tiller, cook. Pauline Kael (yes, that Pauline Kael). Mary Owsley, farm worker. Much more in the Hard Times section of the wonderful Studs Terkel website, which has been featured twice previously on MetaFilter (1, 2) [via Obsidian Wings]
"This recording of Pauline Kael delivering a talk at San Fernando Valley State College sometime in 1963 does closely follow her essay Circles and Squares. But even if you're familiar with the work in question, her tone of voice and formal delivery make these 55-minutes a genuinely nasty, invective-laden eye-opener". (via flickhead)
Pauline Kael has died. Love or hate her, she was influential and different, and at the time shaped how we view film.