The New York Times eulogizes Pauline Kael, 1919-2001. “Provocative and Widely Imitated Film Critic, Dies at 82. Whether dismissing auteur theory,
reviewing Robert Altman’s Nashville
(1975) before it was finished, questioning
the extent of Orson Welles’s contribution to
Citizen Kane (1941) or proclaiming
Bernardo Bertolucci’s Last Tango in Paris
(1973) as a cultural event comparable to
the 1913 premiere of Stravinsky’s Sacre
du Printemps, Ms. Kael was always provocative. Her seductive writing
style bred a legion of acolytes, known as Paulettes.”
…the most quotable critic writing; but what is important and bracing is that
she relates movies to other experiences, to ideas and attitudes, to
ambition, books, money, other movies, to politics and the evolving culture,
to moods of the audience, to our sense of ourselves — to what movies do
to us, the acute and self- scrutinizing awareness of which is always at the
core of her judgment.
–Eliot Fremont-Smith