19 Pauline Kael Quotes on Art

Pauline Kael quotes on art

1. I regard criticism as an art, and if in this country and in this age it is practiced with honesty, it is no more remunerative than the work of an avant-garde film artist. My dear anonymous letter writers, if you think it is so easy to be a critic, so difficult to be a poet or a painter or film experimenter, may I suggest you try both? You may discover why there are so few critics, so many poets.

3. Citizen Kane is perhaps the one American talking picture that seems as fresh now as the day it opened. It may seem even fresher.

6. I loved writing about things when I was excited about them. It's not fun writing about bad movies. I used to think it was bad for my skin. It's painful writing about the bad things in an art form, particularly when young kids are going to be enthusiastic about those things, because they haven't seen anything better, or anything different.

8. The words 'Kiss Kiss Bang Bang,' which I saw on an Italian movie poster, are perhaps the briefest statement imaginable of the basic appeal of movies. This appeal is what attracts us, and ultimately what makes us despair when we begin to understand how seldom movies are more than this.

13. Movies make hash of the schoolmarm's approach of how well the artist fulfilled his intentions. Whatever the original intention of the writers and director, it is usually supplanted, as the production gets under way, by the intention to make money - and the industry judges the film by how well it fulfills that intention. But if you could see the 'artist's intentions' you'd probably wish you couldn't anyway. Nothing is so deathly to enjoyment as the relentless march of a movie to fulfill its obvious purpose. This is, indeed, almost a defining characteristic of the hack director, as distinguished from an artist.

14. People who are just getting 'seriously interested' in film always ask a critic, 'Why don't you talk about technique and 'the visuals' more?' The answer is that American movie technique is generally more like technology and it usually isn't very interesting.

15. The craftsmanship that Hollywood has always used as a selling point not only doesn't have much to do with art - the expressive use of techniques - it probably doesn't have very much to do with actual box-office appeal, either.

17. And for the greatest movie artists where there is a unity of technique and subject, one doesn't need to talk about technique much because it has been subsumed in the art. One doesn't want to talk about how Tolstoi got his effects but about the work itself. One doesn't want to talk about how Jean Renoir does it; one wants to talk about what he has done. One can try to separate it all out, of course, distinguish form and content for purposes of analysis. But that is a secondary, analytic function, a scholarly function, and hardly needs to be done explicitly in criticism. Taking it apart is far less important than trying to see it whole. The critic shouldn't need to tear a work apart to demonstrate that he knows how it was put together. The important thing is to convey what is new and beautiful in the work, not how it was made - which is more or less implicit.

18. Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize.

19. Kicked in the ribs, the press says 'art' when 'ouch' would be more appropriate.

20. Movies are so rarely great art, that if we cannot appreciate great trash, we have very little reason to be interested in them.

21. When you clean them up, when you make movies respectable, you kill them. The wellspring of their art, their greatness, is in not being respectable.

24. The critical task is necessarily comparative, and younger people do not truly know what is new.

30. Picasso has a volatile, explosive presence. He seems to take art back to an earlier function, before the centuries of museums and masterpieces; he is the artist as clown, as conjurer, as master funmaker.

35. The conglomerate heads may be business geniuses, but as far as movies are concerned they have virgin instincts; ideas that are new to them and take them by storm may have failed grotesquely dozens of times. But they feel that they are creative people - how else could they have made so much money and be in a position to advise artists what to do? Who is to tell them no?

50. Goodman: Imitation is the sincerest form of flattery. Kael: I hate it. It is very creepy being imitated.

53. It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.

54. I still don't look at movies twice. It's funny, I just feel I got it the first time. With music it's different. People respond so differently to the whole issue of seeing a movie many times. I'm astonished when I talk to really good critics, who know their stuff and will see a film eight or ten or twelve times. I don't see how they can do it without hating the movie. I would.

56. I see little of more importance to the future of our country and of civilization than full recognition of the place of the artist. If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him.