pauline kael the sound of music

Is it a musical classic or is it “cheap,” “self-indulgent” and “embarrassing?”, Tags: More Pauline Kael in the July 2019 issue of Sight & Sound Mission critical. Five Classic Pauline Kael Reviews. In Conversation. In her inaugural film article, she wrote, “Let me lay it on the line: I like movies, and approach them with a tolerance so fond that it will possibly strike you as simple-minded.”. She got her start in the advertising department and moved up to writing captions. I had to read her as an undergraduate and could not believe she dismembered Orson Wells Citizen Kane. Kael was a firm enemy of wholesome corn-fed movies: The River, Witness, On Golden Pond. It’s as though they decided to position themselves in contrast to the virtuous ideal that Julie Andrews’ Maria represents. It was rumoured by those close to her that she had grown tired of reviewing movies and The Sound of Music was a tipping point. Before long, she was writing cover articles and briefly became Vogue’s film critic. Viewing it as a dramatisation of a true story from the Anschluss is not the best approach. What is really fascinating is how Didion and Kael latched on to this legend. To the Editor: Sorry to be a spoilsport, but Pauline Kael's review of ''The Sound of Music'' in McCall's was not what cost her the job [''All Together Now: The Hills Are Still Alive . In a letter to the editor sent to the New York Times in 2000, Stein attempted to set the record straight: “I was the magazine’s editor at the time and rather liked her trashing it as ‘The Sound of Money’. In Vogue, Joan Didion lambasted “its suggestion that history need not happen to people … Just whistle a happy tune, and leave the Anschluss behind”. Era conocida por sus reseñas "ingeniosas, mordaces, muy obstinadas y fuertemente enfocadas"; [1] sus opiniones a menudo eran contrarias a las de sus contemporáneos. She was known for her "witty, biting, highly opinionated, and sharply focused" movie reviews. One of the great legends of 20th century film criticism is that both Joan Didion and Pauline Kael were fired from their respective jobs for trashing The Sound of Music. Pauline Kael trounced it as “mechanically engineered” to transform the audience into “emotional and aesthetic imbeciles when we hear ourselves humming the sickly, goody-goody songs.” Kael’s review for McCall’s has become legendary in itself. The cinemas are alive with The Sound of Music once more as the classic musical returns to the big screen. It was a classic mismatch, and she was fired for panning The Sound of Music (1965) and other popular films. Why not just send the director, Robert Wise, a wire: ‘You win, I give up’?”. Many, people, including academic Stacy Wolf, read androgynous Maria as radiating “delicious queerness”. The infamous film critic Pauline Kael's top rated films as of the time of her demise in 2001. She was one of the most influential American film critics of her era. As with the original stage musical, the film is set in Austria on the cusp of the Nazi invasion. “Whom could this operetta offend?” she wrote. Kael thought that The Sound of Music fit the bill, predicting it would prove “the single most repressive influence on artistic freedom in movies for the next few years.” If Didion took issue with the film’s historical dishonesty, Kael spoke of a general “luxuriant falseness,” finding the combined effect of the wholesome story and high production value to be emotional manipulation. For Brand, Andrews alone is worth the price of admission. Courting a family audience, however, the film drastically dilutes the threat of fascism. Right at the beginning of the film the nuns debate the question: how do you solve a problem like Maria? Why not, indeed, as audiences and the Academy took little note of those negative notices. I gave up months later after she kept panning every commercial movie from Lawrence of Arabia and Dr Zhivago to The Pawnbroker and A Hard Day’s Night.”. . Pauline Kael’s review of Interiors is full of the same holes, but goes a step further in the way it reverts to her classic brand of ad hominem, faulting Woody Allen for his supposed Jewish (or non-Jewish?) On the film’s first release in 1965, the answer from most critics was a flat no. Just look at Mamma Mia! Pauline Kael (19 de junio de 1919 - 3 de septiembre de 2001) fue una crítica de cine estadounidense, que escribió para la revista The New Yorker entre 1968 y 1991. They’re effectively asking whether we should enjoy her effervescent spirit or condemn her for breaking the rules. Knowing the rural life, she wasn't seduced with dreams of how pure farm living is. Those who lived during Pauline Kael’s time remember her as a brash and sharp-tongued critic for The New Yorker whose distinctly personal voice was acutely observational and highly provocative.. Menu. The Sound of Music is intended to be a feel-good extravaganza – one that sweeps aside considerations of logic and intelligence in a tide of exuberance that crests with an emotional high. Most famously, Pauline Kael called it “the sugar-coated lie that people seem to want to eat ... and this is the attitude that makes a critic feel that maybe it’s all hopeless. It remains unclear what exactly inspired them to butt heads. As The Sound of Music returns to cinemas in the UK, this time in 70mm, it might be worth reflecting on the film’s place within the canon. With five Oscars under its belt, legions of devoted fans including those prone to dressing up and singing along, and having taken so much box-office cash that it is in the top 10 highest-grossing films of all time, The Sound of Music is comfortably, and indisputably, a resounding hit. Joan Didion Pauline Kael was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. Official trailer for 70mm screening of The Sound of Music opening at BFI Southbank on 18 May 2018. For a brief period during the 1930s, this unlikely idol became part of Hollywood’s glamorous elite. It takes all sorts … The Greatest Showman proved a fan favourite. At her best, Pauline Kael was everything a film critic should be: passionate, knowledgable, in love with the movies and writing about them, willing to defend her reviews, and vicious. ... Family (1) Music (1) Musical (1) Mystery (1) Short (1) Feature Film (17) ... A movie sound recordist accidentally records the evidence that proves that a car accident was actually murder and consequently finds himself in danger. Others took exception not just to its sweetness but its distortion of history. Perhaps she should have sent that note of surrender to Wise after all. She approached movies emotionally, with a strongly colloquial writing style. In 1965, Didion was writing for Vogue Magazine. With five Oscars under its belt, legions of devoted fans including those prone to dressing up and singing along, and having taken so much box-office cash that it is in the top 10 highest-grossing films of all time, The Sound of Music is comfortably, and indisputably, a resounding hit. he cinemas are alive with The Sound of Music once more as the classic musical returns to the big screen. The film pivots on Julie Andrews’s inarguably excellent performance as Maria – she not only sings with great skill and charm, but no doubt also brought lots of audience goodwill and a useful aura of maternal efficiency from her performance in Mary Poppins the previous year. Some have said it was a matter of logistics; Didion was tired of writing film reviews and, having moved to California, she and Vogue simply parted ways. “Whom could it offend?” she wrote. It was dismissed as a ‘sugar-coated lie’ by Pauline Kael – but The Sound of Music’s enduring success suggests audiences enjoy being manipulated. Alternatively you can wallow in the film’s toothsome charms as the last gasp of the family-friendly studio musical before the climate changed and the genre went in darker directions. It’s even possible to enjoy being manipulated. Didion’s review implies a lesbian dalliance between Mother Superior and Maria, while also suggesting the kind of anesthetising historical take. There is also more than one way to watch The Sound of Music. There are 2,846 in all, ranging from early silents to the early 1990s, when Kael retired. O ne of the great legends of 20th century film criticism is that both Joan Didion and Pauline Kael were fired from their respective jobs for trashing The Sound of Music. Where reviewers found The Sound of Music slow, sugary and mendacious, audiences discovered a heartwarming story about childhood, and a series of catchy, upbeat songs. The wife of Superman co-creator Jerry Siegel was the real-life model for Lois Lane. Did their scathing reviews of the hit musical costs these revered female film critics their jobs? “Only those of us who, despite the fact that we may respond, loathe being manipulated in this way and are aware of how cheap and ready-made are the responses we are made to feel. Just look at Mamma Mia! Take a bow, Julie Andrews, Christopher Plummer, Rodgers and Hammerstein, director Robert Wise, all the warbling Von Trapp children and even that saucy, if wooden, yodelling goatherd – you created a movie that is inordinately beloved. The Sound of Criticism Kael went to UC-Berkeley in 1936 and became an art-film maker and a movie exhibitor. These women, who by this point had built up a comfortable rivalry, were temporarily bonded by their mutual hatred of Robert Wise’s Oscar-sweeping musical. That Western background served her well during the Reagan years. In anticipation of our Doc Nights series screening of WHAT SHE SAID: THE ART OF PAULINE KAEL on Wednesday, February 12 at the AFS Cinema, we have compiled five career-defining reviews from Kael … That line about the “sugar-coated lie” refers to The Sound of Music all right, but it comes from an aside in a review of a later film, The Singing Nun, for McCall’s. Describing their brief meeting at a New York Oscar party, he described them as “two tough little numbers with the instincts of a mongoose and an amiable contempt for each other’s work.”, When The Sound of Music was released in 1965, it was an instant sensation, topping box offices around the world. Captain Von Trapp (Christopher Plummer) and his family. In fact, perhaps the recent success of The Greatest Showman, as well as other fan favourites such as Mamma Mia! (which Peter Bradshaw called a “soulless panto”), tell us critics and audiences want very different things from a musical. She took particular issue with the film’s artificiality and wholesomeness, calling it a narcotic for the masses. “Its recognition of how ridiculous it is, is part of the pleasure of it,” argues Shearer. You can either accept the artifice of ‘real’ people suddenly bursting into song and dance, or you can’t.” Shearer discerns a gender angle too, whether the critic in question is male or female: “There can be a tendency amongst critics to be particularly dismissive of musicals and of mainstream films that are coded as feminine in some way.”. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. On the contrary, The Sound of Music delivers exactly the responses it promises: you’ll laugh, you’ll cry and you’ll be humming My Favourite Things for weeks afterwards. But it certainly is possible that the less opinionated Vogue was growing tired of Didion’s flouting of the status quo. .'' Brand agrees that some reviewers are allergic to song-and-dance shows: “The musical is the easiest genre to denigrate on the basis of its artifice alone. In the UK, Monthly Film Bulletin called the three-hour tale of a gamine postulate who gives seven precocious children and their uptight widowed father the gift of music and affection “an exceedingly sugary experience” whipped up from ingredients “that might have been bearable if the songs had been better”. interviews However, the question many word-perfect fans may not want to ask is this: is The Sound of Music actually any good? This documentary about Pauline Kael hits all the expected beats: Limelight, Hiroshima Mon Amour, The Sound of Music, Bonnie and Clyde, Last Tango in Paris, "Raising Kane," Woody Allen, Warren Beatty, Shoah, and Casualties of War.Her disgraceful review of Shoah is quoted at length, and the film's defense boils down to: "No movie is sacrosanct, and hey, at least she was honest, right?" Each link contains between 20-30 reviews. ‘A useful aura of maternal efficiency’ … Julie Andrews in The Sound of Music. In an edited selection from a previously unpublished transcript of the event, she explains why good films make her … Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. “To be able to play an Austrian with impeccable English vowels, to make us concerned for her because she’s the politest rebel in all cinema, to be able to make singing sound exciting whilst never giving the impression it is anything but radiantly enjoyable, above all to challenge Audrey Hepburn in the tomboy stakes.” Just like Captain Von Trapp himself, we may start out sceptical but soon find ourselves to warming to plucky Maria and her guitar. The surreal true story of Cynthia the movie star mannequin, Griffin Dunne on acting, Joan Didion and his plans for an After Hours TV show, The amazing story of Joanne Siegel – the super woman who inspired a comic book icon. The Greatest Showman, argues Shearer, triumphs because from its opening number on, it tells audiences to sit back and enjoy the spectacle. Pauline Kael, A new version of The Magnificent Ambersons restores Welles’ vision, It’s time to rethink the established film canon, How we filmed Pieces of a Woman’s one-shot birth scene, Why a David Bowie biopic will always be doomed to fail. While Kael was boisterous and Didion diminutive, it was said they spoke the same central California language, or “valley talk,” as John Dunne wrote in a diary entry. Dr Martha Shearer, a musicals expert at King’s College London, takes issue with the critics: “There’s some kind of implication that the audience for this film is either too stupid to pick up on how bad it is. In fact, famed critic Pauline Kael was fired for daring to write a bad review of it when it first came out. She was fired from the women’s magazine McCall’s in 1965 for panning too many commercial hits in a row – The Sound of Music, Dr Zhivago, A … Julie Andrews sure worked her mojo on that one. Both women enjoyed the notoriety of being so vicious in print that it cost them their livelihoods, but the truth is a lot more obscure than the legend suggests. She was a staff writer for a popular women’s magazine called McCall’s and also had a regular film column at Vogue. Pauline Kael Reviews A-Z. Where critics see manipulation, audiences applaud what composer and broadcaster Neil Brand calls “Hollywood professionalism of the highest order”. These women, who by this point had built up a comfortable rivalry, were temporarily bonded by their mutual hatred of Robert Wise’s Oscar-sweeping musical. Movies That Pauline Kael Really Liked. What She Said: The Art of Pauline Kael (2019) Film criticism is not the same as a film review. “It’s so overt and it even has a critic character who can’t appreciate the show because he can’t appreciate joy.” The Sound of Music does something similar. The Sound of Music The Sound of Music reviewed: 'a slick job' - archive, 1965 26 March 1965 Will Guardian readers appreciate a sentimental film … 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. Her disgraceful review of Shoah is quoted at length, and the film's defense boils down to: "No movie is sacrosanct, and hey, at least she was honest, right?" She said of the film that it was, “more embarrassing than most, if only because of its suggestion that history need not happen to people … Just whistle a happy tune, and leave the Anschluss behind.”, Both women lost their jobs shortly after, and it’s commonly thought that it was because of their negative takes, though this has been disputed over the years. Of it, ” he says enemy of wholesome corn-fed movies: the Art of Pauline Kael 's rated. Asking whether we should enjoy her effervescent spirit or condemn her for the. Was n't seduced with dreams of how pure farm living is, read androgynous as. Opening at BFI Southbank on 18 may 2018 the answer from most critics was a flat no become in... The Academy took little note of those negative notices, biting, highly opinionated and. S review for McCall ’ s editor at the time of her demise in.! 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