Set in the California Sierras during the gold-rush era before the Civil War, the movie is full of recycled mythmaking (SHANE, HIGH NOON, and Sergio Leone's spaghetti Westerns), but Eastwood goes through his motions like someone exhumed, and in his directing he numbs out what he borrows. He seems to inspire Hoffman to underplay, too. For a more extended discussion, see Pauline Kael's book Reeling. Awarded the Golden Palm at Cannes. Her fiancé (Bill Paxton) organizes what's meant to be a small, quiet robbery of the Tower's counting room but finds himself holding the congregation of a couple of thousand people hostage, and on satellite TV. Ledda's story is about how he was … MGM. Cinematography by Adam Holender; produced by Dominick Dunne. It spawned sequels and imitations. The film begins as a comedy about a teenage boy in Seattle who is caught up in the fascination of computers and video games; he has all this miracle-working technology and not a thought in the world about what to do with it. Cinematography by Gordon Willis; music by John Williams; based on a novel by John Jay Osborn, Jr. 20th Century-Fox. They have weapons, and use them at the slightest provocation, and it seems perfectly logical that they should get into their cars and bang into one another and start piling up on the roads. The singing voice of Novak was dubbed by Trudy Erwin; Hayworth's singing was dubbed by Jo Ann Greer. This rabble-rousing movie appeals to a deep-seated belief in simple, swift, Biblical justice; the visceral impact of the film makes one know how crowds must feel when they're being swayed by demagogues. Having built up to the courtroom drama, Lean isn't able to regain a narrative flow when it's over; the emotional focus is gone, and the concluding scenes wobble all over the place. Clarke, got the idea from a wartime newspaper item: the Canadian government transferred title to the room in which the exiled Princess Juliana was about to bear a child to the Netherlands; in this way the child would technically be born on Dutch soil and thus be a legal heir to the throne. If ever there was a wrong actor for a man of great spirit, it's McQueen; as Robert Mitchum once remarked, "Steve doesn't bring too much to the party." (It's the most Godardian of Bertolucci's films.) Columbia. With Michael Beck, Deborah Van Valkenburgh, David Patrick Kelly, David Harris, Dorsey Wright, James Remar, Thomas Waites, Roger Hill, and Marcelino Sanchez. 1 of 16. next. Whatever the reasons, Clément seems to be pulled in different directions; his "sensitivity" is like a glue holding the picture together. Padre Padrone Italy (1977): Drama 114 min, No rating, Color, Available on videocassette The Taviani brothers, who wrote and directed this film version of Gavino Ledda's 1974 autobiography, have learned to fuse political commitment and artistic commitment into stylized passion. Ashcroft comes through with a transcendent piece of acting as Mrs. Moore, and Judy Davis is close to perfection as the repressed Miss Quested, who longs for adventure; they are the two women whose attempt to get to know the Indians socially results in a charge of attempted rape against Dr. Aziz, played by Victor Banerjee, a fine, fluid actor who's like a piece of erotic sculpture. Barbara Loden wrote, directed, and stars in this story of the minimal love affair of a passive, bedraggled girl from a mining town and a nervous wreck of a small-time crook (Michael Higgins). G.W. Albert Lewin, who produced, directed, and wrote the story and screenplay, shows more visual feeling than common sense. Read Movie and TV reviews from Pauline Kael on Rotten Tomatoes, where critics reviews are aggregated to tally a Certified Fresh, Fresh or Rotten Tomatometer score. It's easy to present fantasy on the screen, but to show a man's life in completely realistic terms as this film does and make us experience it as fantasy is difficult. The director never falls back on coy tricks or clichés and the performances are admirable, but the movie is such an extremely drab and limited piece of realism that it makes Zola seem like musical comedy. The picture goes much further--sometimes majestically, sometimes with surreal details that suggest an affinity between Godard and Buñuel, sometimes with methods and ideas that miss, badly. In this situation, courage and caution are almost irrelevant, and ordinary human responses are futile and archaic--yet nothing else is left. Worthy, but a drag--despite the many incidents, it feels undramatic. Paramount. 15 of Pauline Kael… The movie straggles a bit, but it has a klunky freshness, and it has a whole slew of terrifically talented actors: Tim Curry as the bratty con artist, the charismatic Reverend Ray Porter who dallies with the ladies of the choir; Annie Potts as his exhibitionist wife, Darla, who wiggles like the best cootch dancer in Heaven while delivering a sales pitch for expensive Bibles; Anthony Geary; Glenn Withrow; Dennis Burkley; Leland Crooke; and others. Read some of the reviews on … Houseman shines because he's the only one who suggests that he was formed by experience. Eastwood himself, a ghost who materializes as the answer to a 14-year-old girl's prayer for a miracle, seems to be playing some spectral combination of Death, Jesus, Billy Jack, and the Terminator. None of them have the brittle sentimentality necessary for Coward's brand of light social comedy. The movie is about the men's impulses to revert to their former crime patterns, and about their efforts to become professional men of the theatre. Henri-Georges Clouzot directed his own adaptation of Georges Arnaud's novel. Movie Reviews Great Movies Collections TV/Streaming Features Chaz's Journal Interviews Cast and Crew Pauline Kael Find on IMDB. Falconetti's Joan may be the finest performance ever recorded on film. Pauline Kael Select another critic » The New York Times, The New Yorker. As a mystical movie WEEKEND is comparable to Bergman's THE SEVENTH SEAL and SHAME and Ichikawa's FIRES ON THE PLAIN and passages of Kurosawa, yet we're hardly aware of the magnitude of the writer-director's conception until after we are caught up in the comedy of horror, which keeps going further and further and becoming more nearly inescapable, like Journey to the End of the Night. It has at least one superb image--a great, clumping white horse, a dream horse--and when this fairy-tale beast is slaughtered war becomes truly obscene. This admirable version of E.M. Forster's 1924 novel about the tragicomedy of British colonial rule was adapted, directed, and edited by David Lean, who knows how to do pomp and the moral hideousness of empire better than practically anybody else around. 1. It's supposed to be a thriller, but it's more like an executive decision to make a thriller. Sturges's comic invention soars, but the picture is too wild to be sustained; still, it's a joy, despite the lulls of waggish humor. With Stefania Sandrelli, Tina Aumont, and Sergio Tofano. Petri keeps us tense and uneasy, wary, expecting the worst at each moment. Movie Love: Complete Reviews, 1988-1991. by Pauline Kael 4.8 out of 5 stars 6. Too gentle. Instant Watch Options; Genres; Movies or TV; IMDb Rating; In Theaters; On TV; Release Year; Keywords; Prime Video (70) IMDb TV (5) Prime Video (Rent or Buy) (448) Drama (495) Comedy (236) Romance (181) … One of the most talked about hits of the 60s, it was a formative influence on the counterculture, and it was the movie that made Dustin Hoffman a star. The sordid, intriguingly nasty movie--taken, inevitably, from a Simenon novel--has some pretensions toward being a parable of sadistic injustice; on that level, it can't be taken very seriously. Allied Artists. Natalie Wood's songs were dubbed by Marni Nixon, Richard Beymer's by Jim Bryant, and Rita Moreno's by Betty Wand. With the exception of Alec Guinness (whose caricature of an inscrutable Brahmin is simply in the wrong movie), the cast is just about irreproachable. If Lean's technique is to simplify and to spell everything out in block letters, this kind of clarity has its own formal strength. The impressive, widely admired opening shots of New York from the air overload the story with values and importance--technological and sociological. The director, John Schlesinger, has his professionalism--it shows in the clean, efficient staging. British comedy with a fine flavor and wonderful details, though the whimsey is rather self-congratulatory. And these revues did actually reveal the distinctive tone and style of the studios--Paramount was the giddiest, the least self-serious. The people who made it had half an idea. A great many people are inexplicably hooked on this weeper about the unlucky wartime love affair of a duke's nephew (Robert Taylor, trying to act aristocratic) and a dancer (Vivien Leigh). It doesn't seem weighted down with talk, like most of the others, and though a trifle slow in spots, it has a very satisfying … Match that for lyric eloquence! 6 of 16. prev. The music is by Leonard Bernstein. (The play by Lottie Blair Parker and Joseph R. Grismer was so popular that Griffith paid $175,000 for the right to adapt it.) There's a night-blooming, psychedelic shine to the whole baroque movie. But it's a tall tale: a fiction derived from early Westerns. Cinematography by Fred Koenekamp; music by Jerry Goldsmith. Besides, Americans don't move their mouths right for that British chat. Mean Jack Palance (then billed as Walter Jack Palance) and frightened, sweaty Zero Mostel are the thugs they're after. Shows like this, in which the studios showed off their contract players, were a form of institutional advertising that paid for itself. Though the central characters are the boy Apu (who is born near the beginning) and his mother and father and sister, the character who makes the strongest impression on you may be the ancient, parasitic, storytelling relative, played by the 80-year-old Chunibala, a performer who apparently enjoyed coming back into the limelight after 30 years of obscurity-her wages paid for the narcotics she used daily. Score by Antoine Duhamel. William Dieterle is also in the cast. CinemaScope. 2% same as the average critic. Michel Simon is the stranger in a Paris suburb who is framed for murder; Viviane Romance and her lover, Paul Bernard, are the ones who frame him. Produced by Sidney Franklin, for MGM. The English production, shot in Spain, has a mostly British cast--Nigel Patrick, Pamela Kellino (Mason), Marius Goring, and John Laurie. And then she names the three directors she feels are making the most exciting movies right now: Francis Ford Coppola, an Italian-American; Martin Scorsese, who grew up in New York's Little … For a more extended discussion, see Pauline Kael's book Movie Love. 2001: A Space Odyssey (1969) Stanley … With Mireille Darc and Jean Yanne. But there were also some hugely popular 70s films, such as this one and DIRTY HARRY, in which the old values returned in a corrupt, vigilante form under the banner of "law and order." Ann Sothern is in the Merman role, supported by Ben Blue, Red Skelton, and Rags Ragland as sailors, as well as by the Berry Brothers, Jackie Horner, Marsha Hunt, Virginia O'Brien, Dan Dailey, Alan Mowbray, and Carl Esmond. Behrman, Hans Rameau, and George Froeschel. Cinematography by Subrata Mitra; music by Ravi Shankar. Pauline Kael - Film Reviews. As "auntie," she is so remarkably likable that you may find the relationship between her and the mother, who is trying to feed her children and worries about how much the old lady eats, very painful. For a more extended discussion, see Pauline Kael's book Hooked. Alastair Sim turns up as the Laird, and the Scottish Highlands provide the background for this gentle satire of man's mania for bodybuilding. Potato Head. The songs include "I Didn't Know What Time It Was," "Bewitched," "The Lady Is a Tramp," and "There's a Small Hotel." For 619 reviews, this critic has graded: 28% higher than the average critic. Pauline Kael (/ k eɪ l /; June 19, 1919 – September 3, 2001) was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. A misbegotten attempt by MGM to embroider on Noel Coward's TONIGHT AT 8:30 playlets and put them together. In French and Italian. Pauline Kael reviews Luchino Visconti's 'The leopard' (Il Gattopardo). With Michael Gough, John Hallam, and Robert Lang. The music is by Georges Auric; the cinematography is by Armand Thirard. The movie is a popular melodrama with its roots in the gangster films of the 30s, but it expresses a new tragic realism, and it's altogether extraordinary. Instant Watch Options; Genres; Movies or TV; IMDb Rating; In Theaters; On TV ; Release Year; Keywords; Prime Video (31) … Share. Two years before THE CONFORMIST, Bernardo Bertolucci made this inventive but bewildering political vaudeville--a modernization of Dostoevski's The Double, in which a young drama teacher (Pierre Clémenti) has fantasies of extending the theatre of cruelty into political revolution. And Richard Baskin, whose suite of rock songs "City of the One Night Stands" was the starting point for this sick-soul-of-Los Angeles movie, growls his guru-wisdom lyrics on the sound track. December 30, 2017 A wide, startlingly vivid view of a Mafia dynasty, in which organized crime becomes an obscene nightmare image of American free enterprise. United Artists. (2 hours and 43 minutes.) Directed by David Beaird, from a script by Neil Cohen and Joel Cohen (no relation). An oil well 300 miles away has caught fire, and the oil company offers four of them $2,000 each to drive two trucks loaded with nitroglycerine (to explode out the fire) over primitive roads. Sidney Gilliat and Frank Launder wrote the script; Launder, who seems as muscle-bound as the hero, directed--he's slow and heavy. The film enters into the spirit of urban-male tribalism and the feelings of kids who believe that they own the streets because they keep other kids out of them. he answers, "A trip to the moon." The 1940 Broadway musical (which had starred Ethel Merman) underwent the usual Hollywood bowdlerization; the movie still has some energy, but only a couple of the Cole Porter songs remain. When we next see the boy, 10 years of sweat and exercise have turned him into a strapping 6 feet 6 inches of solid muscle--muscle even between his ears. As the five gruelling cross-examinations follow each other, Dreyer turns the camera on the faces of Joan and the judges, and in giant closeups he reveals his interpretation of their emotions. Pauline Kael movie reviews & film summaries | Roger Ebert. With Michael Moriarty, Carrie Snodgress, Richard Dysart, Christopher Penn, Sydney Penny, Richard Kiel, John Russell, and Doug McGrath. The terrifyingly outsize Nick (Randy Quaid), a defoliation expert, and his adoring, obedient Lily (Mary Beth Hurt) are a lovely-dovey pair of married sweethearts. He also knew how to rework a hit; this movie is a spin-off of THE BAKER'S WIFE. picture ever done. Though made in 16 mm, for Italian television, this extraordinary work--pungent and carnal, and in faintly psychedelic Romanesque color--took the two top prizes at Cannes (the Golden Palm and the International Critics' Prize). For a more extended discussion, see Pauline Kael's book When the Lights Go Down. Refine See titles to watch instantly, titles you haven't rated, etc. Lukas, repeating his stage role, won an Academy Award; Davis is subdued and unexciting. James Horne directed. For a more extended discussion, see Pauline Kael's book When the Lights Go Down. This is a movie Mount Rushmore, though it features only two heads. Jean Gabin and Isa Miranda are the restless, lonely lovers in this Franco-Italian production, directed by René Clément. (The Wedekind material was first filmed in 1919 with Asta Nielsen; the most recent version was probably the 1962 LULU with Nadja Tiller.) Only the title of this extraordinary poetic satire is casual and innocent. Kael tears Raiders of the Lost Ark apart by calling it a product of “machine-tooled” marketing. Consider the feat: first you take Shakespeare's Romeo and Juliet and remove all that cumbersome poetry; then you make the Montagues and Capulets modern by turning them into rival street gangs of native-born and Puerto Ricans. Theirs is the only emotional bond in the movie, and there's hardly any emotion in it. (You can see the influence of this picture in Peckinpah's THE WILD BUNCH.) When Tony, floating on the clouds of romance, is asked, "What have you been taking tonight?" (There was a Universal version in 1931, with Mae Clarke and Kent Douglass-also known as Douglass Montgomery-and an MGM version in 1956, called GABY and starring Leslie Caron and John Kerr. In Italian. With Aldo Ray as a sulky boxer, William Ching, Jim Backus, Phyllis Povah, Sammy White, Chuck Connors, Charles Bronson, and Don Budge. When Romeo-Tony meets his Juliet-Maria, everything becomes gauzy and dreamy and he murmurs, "Have we met before?" As long as Godard stays with cars as the symbol of bourgeois materialism, the barbarity of these bourgeois--their greed and the self-love they project onto their possessions--is exact and funny. Features The Great Performances of 2020. Talky and stiff, the film never finds the passionate tone that it needs. For a more extended discussion, see Pauline Kael's book I Lost it at the Movies. With Vera Clouzot and William Tubbs. Roberto Rossellini made this episodic film after his breakthrough with OPEN CITY the year before. by Pauline Kael. Walter Lang directed; Hermes Pan did the choreography. In Italian. For sheer erotic dynamism, the backstage scenes on the opening night of a show Lulu is in have never been equalled; the later scenes, in Marseilles, are comparatively drab. With Miles Malleson, Norah Gorsen, and Raymond Huntley. It's at its worst when John Wood is onscreen as a saintly computer scientist who's so brainy and bitter that he rolls his eyes from side to side and wears his hair in bangs. The three episodes of this engaging, too-little-known German horror-fantasy incorporate extravagantly villainous performances--Conrad Veidt as Ivan the Terrible, Emil Jannings (in one of his rare comic portraits) as Haroun-al-Raschid, and Werner (Caligari) Krauss as Jack the Ripper. With Saverio Marconi, Omero Antonutti, Margella Michelangeli, and Ledda, as himself, at the beginning and the end. A sad disappointment, though Lena Horne is ravishing, and when she sings you can forget the rest of the picture. This first feature directed by the actor Bob Balaban is a stunning début, even though the story, which starts as a satiric comedy about the conformism of the Eisenhower 50s, lapses into gory horror-movie banality. Norman Taurog directed; the Harry Revel and Mack Gordon songs include "Love Thy Neighbor" and "She Reminds Me of You.". Matthew Broderick plays the role with great charm; the boy is like an American Antoine Doinel, and he's the life of the movie. The ballad on the sound track, which adds to the air of fanciness, is by Millard Lampell and Earl Robinson. In the Veidt-Ivan sequence, which was obviously a major influence on Eisenstein's IVAN THE TERRIBLE, Ivan is a jokester-poisoner who enjoys presenting his victims with hourglasses timed to run out at the precise moment of their deaths; one day he discovers an hourglass labelled "Ivan." Henry Cornelius directed; music by Georges Auric. Sam Peckinpah directed, from a screenplay by Rudolph Wurlitzer. She had a taste for violence in films, but only when it was purpose and she disliked movies she felt were superficial or manipulative. Pauline Kael had an overwhelming presence in a conversation. With Jean-Paul Belmondo, Madeleine Robinson, Bernadette Lafont, Jeanne Valerie, and-as Léda-Antonella Lualdi. A Hal Roach Production, for MGM. Reviews. Lewin's direction is static, yet his staging is so luxuriantly mad that it's easy to get fixated on what, if anything, he could have had in mind. In this vision, cops and kids are all there is, and the worst crime is to be chicken. The film is episodic; it's in an Expressionist style, with rapid cutting and surprising kinds of almost violent visual tension, particularly in the first half. The Citizen Cane Book By Pauline Kael, The Shooting Script By Herman J. Mankiewicz & Orson Welles. Light, easy-going Paramount musical comedy about the wreck of a yacht on a desert island, taken (very loosely) from J.M. When you can be blown up at any moment only a fool believes that character determines fate. The present-tense semi-documentary visual style is innovative, the content less so. He begins with just a slight stylization of civilized living now--the people are more adulterous, more nakedly mercenary, touchier. Directed by Jerry Schatzberg, from the script by Joan Didion and John Gregory Dunne, based on a novel by James Mills. Harburg and Walter Donaldson. The professor-hero (Gian Maria Volonté)--a man who has always been an outsider--finds himself involved in a crime in his own Mafia-ridden Sicilian home town, and this familiar region becomes as terrifying and incomprehensible as the desert in a Paul Bowles story. The traffic jam is a prelude to highways littered with burning cars and corpses. The film also makes passes at the soft-core porno market in scenes between Dullea and Elizabeth Ashley (his long-suffering, still hopeful girlfriend), but though these scenes are fairly explicit they are so unerotic that it's difficult to know why they're there at all. With an amazing cast that includes Jason Robards, Katy Jurado, Rita Coolidge, Emilio Fernandez, Slim Pickens, Chill Wills, John Beck, Richard Jaeckel, Matt Clark, Richard Bright, Jack Elam, Harry Dean Stanton, John Davis Chandler, L.Q. The judge is played by Charles Laughton, and Ethel Barrymore (looking very elegant) is his sensitive, mistreated wife. Paramount. Louise Brooks, a great--almost impersonal--beauty who set styles in the flapper period, and whose straight hair and bangs were imitated all over the world (and were used as the model for the Dixie Dugan comic strip), left Hollywood in 1928 at the height of her career and went to Germany for the role of a lifetime. Silent. (Robin Wood's study, The Apu Trilogy, does the films justice.) They take refuge in the home of a none too bright merchant (Leo G. Carroll) and his opaque wife (Joan Bennett), and coyly busy themselves protecting the kindly dumb merchant from his mean, rich cousin and boss (Basil Rathbone). Bottoms meets the professor's daughter (Lindsay Wagner), who's derisive about everything, and he becomes confused about why he's studying. Released by Cinerama. Here, the film's intentions look wobbly: for example, Pearson's periodic reliance on cut-in reaction shots of the townspeople is an amateurish embarrassment. Also with Ann Todd, Louis Jourdan, Charles Coburn, Isobel Elsom, and Leo G. Carroll, who are mostly miserably miscast. Margaret Rutherford is the historian who gives scholarly sanction to an independent Pimlico; Basil Radford and Naunton Wayne are the protocol-ridden bureaucrats trying to handle the crisis; Stanley Holloway and Hermione Baddeley are shopkeepers. The idea is so promising that you keep expecting more pleasure than you get. It has an authentic look and a thoughtfully selected cast that includes Richard Bright, Alan Vint, Kiel Martin, Michael McClanathan, Raul Julia, Warren Finnerty, Paul Sorvino, Sully Boyar, and Joe Santos. The characters and their problems don't make much imprint on a viewer; if you can't remember whether you've seen the picture or not, chances are that you did and forgot it. This film critic has awarded movies a score of 67% on average. On average, this critic grades 1 point lower than other critics. The director, Paul Leni, a former Max Reinhardt collaborator, was an extraordinarily gifted scenic artist; the macabre Expressionistic decor for the Jack the Ripper sequence is made entirely from sheets of painted paper. Pauline Kael’s Most Passionate Reviews, From ‘Bonnie and Clyde’ to ‘Taxi Driver’ Thumbnails. The picture, written and directed by James Bridges, tries to be thoughtful and provocative, but it has nothing to say. The film is silent but as you often see the (French) words forming you may have the illusion that you've heard them. The film is leisurely in the best sense; you adjust to a different rhythm and come out feeling relaxed, as if you'd gone on vacation. (en) Pauline Kael reviews, including the full text of Raising Kane (en) Extensive collection of capsule reviews by Kael; Portail du cinéma américain La dernière modification de cette page a été faite le 24 août 2020 à 22:36. It was sold as the true story of crusading Tennessee sheriff Buford Pusser, who cleaned out the moonshining, gambling, and prostitution in his county. Tracy, who plays a sports promoter (with a streets-of-the-big-city accent--"cherce" for "choice") has a lighter, funnier tone than in the other Tracy-Hepburn pictures. With Maria Michi and Gar Moore in the Roman episode, and Dots M. Johnson as the black soldier in Naples. The writer-director, Alan Rudolph, is literary in a subliterate way; he overvalues mournful poetic thoughts. Humphrey Bogart, Peter Ustinov, and Aldo Ray trying very hard to be funny as a trio of convicts who escape from Devil's Island late in the 19th century. Intending to blacklist him, the studio head writes his name down on a slip of paper; a secretary assumes that the name is to be added to a party guest list, and so the actor arrives at the home of the studio head who wants to kill him. For a more extended discussion, see Pauline Kael's book When the Lights Go Down. Guthrie uses the Yeats translation of Sophocles' tragedy, … Review by Pauline Kael. Karlson pulls out all the stops of classical cheapie melodrama, right down to the murder of the Pusser family dog and the weeping face of a bereaved child. Set in an Ozark community, this lampoon of television evangelists is a piece of rollicky backwoods Americana. The film has some inadvertent humor: the children of this liberal couple are the most highly disciplined little prigs imaginable. The Editors | … In 1968, shortly after the publication of her review of “Bonnie and Clyde,” she became the magazine’s film critic. 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