11 Pauline Kael Quotes on Audience

Pauline Kael quotes on audience

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.

11. Alienation is the most common state of the knowledgeable movie audience, and though it has the peculiar rewards of low connoisseurship, a miser's delight in small favors, we long to be surprised out of it - not to suspension of disbelief nor to a Brechtian kind of alienation, but to pleasure, something a man can call good without self-disgust.

12. Audiences who have been forced to wade through the thick middle-class padding of more expensively made movies to get to the action enjoy the nose-thumbing at 'good taste' of cheap movies that stick to the raw materials. At some basic level they like the pictures to be cheaply done, they enjoy the crudeness; it's a breather, a vacation from proper behavior and good taste and required responses. Patrons of burlesque applaud politely for the graceful erotic dancer but go wild for the lewd lummox who bangs her big hips around. That's what they go to burlesque for.

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.

22. The small triumph of 'The Graduate' was to have domesticated alienation and the difficulty of communication, by making what Benjamin is alienated from a middle-class comic strip and making it absurdly evident that he has nothing to communicate - which is just what makes him an acceptable hero for the large movie audience. If he said anything or had any ideas, the audience would probably hate him.

23. The recurrence of certain themes in movies suggests that each generation wants romance restated in slightly new terms, and of course it's one of the pleasures of movies as a popular art that they can answer this need. And yet, and yet - one doesn't expect an educated generation to be so soft on itself, much softer than the factory workers of the past who didn't go back over and over to the same movies, mooning away in fixation on themselves and thinking this fixation meant movies had suddenly become an art, and their art.

33. One of the biggest box-office successes in movie history - probably because for young audiences it's like getting a box of Cracker Jack that is all prizes. Written and directed by George Lucas, the film is enjoyable in its own terms, but it's exhausting, too: like taking a pack of kids to the circus. There's no breather in the picture, no lyricism; the only attempt at beauty is in the image of a double sunset. The loudness, the smash-and-grab editing, and the relentless pacing drive every idea out of your head, and even if you've been entertained, you may feel cheated of some dimension - a sense of wonder, perhaps. It's an epic without a dream.

34. TV executives think that the programs with the highest ratings are what TV viewers want, rather than what they settle for.

38. It would be very convincing to say that there's no hope for movies - that audiences have been so corrupted by television and have become so jaded that all they want are noisy thrills and dumb jokes and images that move along in an undemanding way, so they can sit and react at the simplest motor level. And there's plenty of evidence, such as the success of Alien. This was a haunted-house-with-gorilla picture set in outer space. It reached out, grabbed you, and squeezed your stomach; it was more gripping than entertaining, but a lot of people didn't mind. They thought it was terrific, because at least they'd felt something: they'd been brutalized. It was like an entertainment contrived in Aldous Huxley's Brave New World by the Professor of Feelies in the College of Emotional Engineering.

42. It tackles a wonderful subject without preening, and brings it off unassertively - so unassertively that the movie is in danger of being overlooked. (Variety has already dismissed it as something 'for a very limited audience.') We're getting to the point where the press assumes that movie audiences won't be willing to bring anything to a picture, and warns them off.

46. If there is any test that can be applied to movies, it's that the good ones never make you feel virtuous.