Cale, Pauline

Born in a family of Jewish immigrants from Poland who lived on a farm in California. At the University of California at Berkeley, she studied philosophy, literature and art, but was expelled from it in 1940. She intended to make a playwright career. Came into the English-language film criticism in the 1950s. The first publication was an essay on the films of Charles Chaplin ( 1953 ). In 1965-1966 she worked in the McCall's women's magazine. From 1967 to 1990, she collaborated with The New Yorker magazine . Ceased to maintain a column in The New Yorker in 1991 due to Parkinson's disease .

Cale embodied an anti-intellectual approach to film criticism, based on the emotional perception of the film. She watched the news only once and reviewed, relying on the first impression; never revised past tapes. “I don’t remember that she at least once dug up some ideas from the film or went deeper into its structure beyond phrases like:“ I like this ”or“ I didn’t like this, ” recalls Dave Ker .

In 1967, she led a campaign to rehabilitate such a key New Hollywood film as Bonnie and Clyde , which provoked a backlash from critics of the Old School by writing a review of 9 thousand words about him. The New Republic magazine, where she worked at that time, refused to print a review. It ended up publishing the article by The New Yorker and providing it with a permanent column in the magazine. The review said: "Bonnie and Clyde" - the most American of all American films after the " Manchu candidate ", and our audience has long been ripe in order to perceive this picture. " According to the film scriptwriter Robert Town: “Without her, Bonnie and Clyde would have died like a stray dog.”

In her essay, which provoked a heated discussion, “Growing Kane” ( The New Yorker , 1971), where she examined in detail the history of the film “ Citizen Kane ”, she challenged the absolute authorship of Orson Welles and attributed at least half the authorship of this painting to screenwriter German Mankevich .

She promoted the work of Jean-Luc Godard , considered “ The Last Tango in Paris ” to be perhaps the greatest film in history, she sympathized with the revisionists ( Sam Pekinpa in the first place) ^[6] . She criticized Hollywood goddesses like Lana Turner : “This is not an actress, this is a commodity . ”

A participant in a long-standing polemic about auteur cinema with the leader of the “intellectual establishment”, film critic Andrew Sarris from The Village Voice, a New York-based newspaper. It is believed that her approach to film criticism was developed by Roger Ebert .

Quentin Taratino studied her reviews from the age of 15, and years later admitted: “I never went to a film school. Pauline Cale was my professor at a film school in my head. ” ^[7]

Books

• I Lost It at the Movies (1965)
• Kiss Kiss Bang Bang (1968) ISBN 0-316-48163-7
• Going Steady (1969) ISBN 0-553-05880-0
• The Citizen Kane Book (1971) ^[9] OCLC 209252
• Deeper into Movies (1973) ISBN 0-7145-0941-8
• Reeling (1976)
• When the Lights Go Down (1980) ISBN 0-03-042511-5
• 5001 Nights at the Movies (1982, revised in 1984 and 1991) ISBN 0-8050-1367-9
• Taking It All In (1984) ISBN 0-03-069362-4
• State of the Art (1987) ISBN 0-7145-2869-2
• Hooked (1989)
• Movie Love (1991)
• For Keeps (1994)
• Raising Kane, and other essays (1996)

Reviews and Essays

• "Trash, Art, and the Movies" , an essay published in 1969 in Harper's February issue
• " Raising Kane ", an essay on the movie Citizen Kane, published on February 20 and 27, 1971 in The New Yorker
• "Stanley Strangelove," a review of the film A Clockwork Orange, published in 1972 in the January issue of The New Yorker
• "The Man From Dream City," an article by Carey Grant published in The New Yorker July 14, 1975
• Kael, Pauline (June 23, 1980), " Why Are Movies So Bad? Or, The Numbers ", The New Yorker : 82 , < https://www.newyorker.com/magazine/1980/06/23/why- are-movies-so-bad-or-the-numbers >  
• Kael, Pauline (January 7, 1985), "The Current Cinema: Fever Dream / Echo Chamber", The New Yorker T. 60 (47): 66–70   reviews of Mrs. Soffel , director Gillian Armstrong , and Cotton Club , director Francis Forl Coppola
• Kael, Pauline (January 14, 1985), "The Current Cinema: Unloos'd Dreams", The New Yorker T. 60 (48): 112–115   reviews of Trip to India , directed by David Lean
• Kael, Pauline (January 28, 1985), "The Current Cinema: Lovers and Fools", The New Yorker T. 60 (50): 86–91   reviews of Mickey and Maud , directed by Blake Edwards ; The Man from the Star , directed by John Carpenter ; Flamingo guy directed by Harry Marshall

• New hollywood
• Roger Ebert

• Biskind, P. Careless riders, mad bulls . - M .: AST , Mn .: Harvest , 2007 - ISBN 978-5-17-044733-6 , ISBN 978-985-16-2169-5 .
• Davis, Francis. Afterglow A last conversation with Pauline Kael . Da Capo Press, 2002