Upon its delayed ( 1968 ) release in the United States, it drew praise from Roger Ebert, Pauline Kael and others.

Kael also noted the reaction of audiences to the violent climax of the movie, and the potential to empathise with the gang of criminals in terms of their naiveté and innocence reflecting a change in expectations of American cinema.

" In her review, Pauline Kael noted that " the decisive change in the characters ' lives which the story hinges on takes place suddenly and hardly makes sense ..." She was not the only critic to question the gap in the plot ; of the scene in the hospital shortly after Katie gives birth and they part indefinitely, critic Molly Haskell wrote, " She seems to know all about it, but it came as a complete shock to me ".

Kael argued that college students identifying with the graduate were not too different from audiences identifying with characters in dramas of previous decade.

The film was admired by Jean-Luc Godard, who featured a clip in his mammoth Histoire ( s ) du cinéma, and Pauline Kael who championed both The Fury and De Palma.

Although several reviews were critical of the film – Pauline Kael said it " staggers along " and Stanley Kauffmann thought Cukor's direction was like " a rich gravy poured over everything, not remotely as delicately rich as in the Asquith-Howard 1937 Pygmalion " — the film was a box office hit which won him the Academy Award for Best Director, the Golden Globe Award for Best Director, and the Directors Guild of America Award after having been nominated for each several times.

According to film critic Pauline Kael, " Brando represented a reaction against the post-war mania for security.

" Pauline Kael, he notes, was willing to acknowledge this critical ennui and thus appreciate how a film such as Akira Kurosawa's Yojimbo ( 1961 ) " could exploit Western conventions while debunking its morality.

Pauline Kael called the film " one of the most gruesomely terrifying movies ever made – and when you leave the theatre you may wish you could forget the whole horrible experience.

Discussing the subsequent film version, Pauline Kael wrote that Leigh and Marlon Brando gave " two of the greatest performances ever put on film " and that Leigh's was " one of those rare performances that can truly be said to evoke both fear and pity.

* June 19 – Pauline Kael, American film critic ( d. 2001 )

Despite receiving some negative reviews and a mixed, but complimentary review from the New York Times and one from Pauline Kael, the film was nominated for ten Academy Awards and won the award for best costumes.

Brook's film starkly divided the critics: Pauline Kael said " I didn't just dislike this production, I hated it!

Pauline Kael wrote that much of Mankiewicz's vision of " the theater " was " nonsense " but commended Davis, writing " film is saved by one performance that is the real thing: Bette Davis is at her most instinctive and assured.

Film critic Pauline Kael adopts a more neutral stance, while Time magazine film critic Richard Schickel writes " The nostalgia surrounding Rogers-Astaire tends to bleach out other partners.

This 2009 documentary film chronicles what occurred as a result: the New York Times fired Bosley Crowther because his negative review seemed so out of touch with the public, and Pauline Kael, who wrote a lengthy freelance essay in The New Yorker in praise of the film, became the magazine's new staff critic.

When it was first released, the film received a mixed response and garnered exceptionally harsh reviews from New York critics — Stanley Kauffmann (" the film bloats into sogginess ", The New Republic ); Pauline Kael (" amateurishly crude ", The New Yorker ); and Andrew Sarris — partly because of its directorial style and broad ethnic humor.

Film critic Pauline Kael felt the film exaggerated the social impact of GM's closing of the plant and depicted the actual events of Flint's troubles out of chronological order.

Kael called the film " shallow and facetious, a piece of gonzo demagoguery that made me feel cheap for laughing ".

The film was favourably reviewed by critic Pauline Kael in her film reviews collection Hooked.

Pauline Kael called it " a kid's film in the best sense.

Legendary film critic Pauline Kael remarked on Coburn's unusual characteristics, stating that " he looked like the child of the liaison between Lt Pinkerton and Madame Butterfly ".

The film critic Pauline Kael called it " the high-fashion experimental film, the snow job at the ice palace ... back at the no-fun party for non-people ".

Eastwood's longtime nemesis Pauline Kael called it " a tale varnished with foul language and garnished with violence ".

The following year, she landed her first major role in François Truffaut's The Story of Adèle H. Critics enthused over her performance, with Pauline Kael calling her acting talents " Prodigious ".

Below, Kael kills Airk, then engages Madmartigan in a lengthy battle, which ends with Madmartigan killing the General.

Pauline Kael had problems with the chemistry between the three lead actors: " Murray is the film's comic mechanism ...

It was met with rave reviews from Pauline Kael and other top film critics, and Le Mat was nominated for a Golden Globe Award.

Many critics expressed concern with what they saw as bigotry, with Newsweek describing the film as " a right-wing fantasy ", Variety as " a specious, phony glorification of the police and police brutality with a superhero whose antics become almost satire " and a raging review by Pauline Kael of The New Yorker who accused Eastwood of a " single-minded attack against liberal values ".

In 1975, during an interview with Kate McCauley, Houseman stated that film critic Pauline Kael in her tome, The Citizen Kane Book, had caused an “ idiotic controversy ” over the issue:

Pauline Kael, on the other hand, wrote that the " grotesquely inspired " combination of " Russell, with his show-biz-Catholic glitz mysticism, and Chayefsky, with his show-biz-Jewish ponderousness " results in an " aggressively silly picture " that " isn't really enjoyable.

Film author Pauline Kael credits Mankiewicz with having written, alone or with others, " about forty of the films I remember best from the twenties and thirties ," adding, " I hadn ’ t realized how extensive his career was.

In looking back on his early films, Kael writes that Mankiewicz had, in fact, written ( alone or with others ) " about forty of the films I remember best from the twenties and thirties.

* Afterglow: A Last Conversation with Pauline Kael, book about film critic Pauline Kael

In her book Conversations with Pauline Kael, Kael says of the Vietnam War's depiction in American films,

According to Pauline Kael, " Huston directed the movie, at eighty, from a wheelchair, jumping up to look through the camera, with oxygen tubes trailing from his nose to a portable generator ; most of the time, he had to watch the actors on a video monitor outside the set and use a microphone to speak to the crew.

Noted critic Pauline Kael wrote that, allegedly, " the starving extras made away with some of the banquets before they could be photographed ".

Eastwood's long time nemesis Pauline Kael called it " a tale varnished with foul language and garnished with violence ".

He first used City Lights — in homage to the Chaplin film — in 1952 as the title of a magazine, publishing early work by such key Bay Area writers as Philip Lamantia, Pauline Kael, Jack Spicer, Robert Duncan, and Ferlinghetti himself, as “ Lawrence Ferling .” A year later, Martin used the name to establish the first all-paperback bookstore in the U. S., at the time an audacious idea.

Kael, Pauline “ Bonnie and Clyde ” in, Pauline Kael, For Keeps ( Plume, New York, 1994 ) pp. 141 – 57.

Kael, Pauline, “ Trash, Art, and the Movies ” in Going Steady, Film Writings 1968-69, Marion Boyers, New York, 1994, pp87 – 129

Geng ’ s short parody of the film critic Pauline Kael, published in “ The New York Review of Books ” in 1975, caught the eye of Roger Angell, a fiction editor at The New Yorker.

Pauline Kael called the setting of Hard Times “ elaborate period recreations that seem almost to be there for their own sake ”.

Kael explains, “ Put Bronson in modern clothes and he ’ s a hard-bitten tough guy, but with that cap on he ’ s one of the dispossessed — an honest man who ’ s known hunger ”.

His screenplays for Ernst Lubitsch, perhaps that era ’ s most admired director of sophisticated comedies, included “ Trouble in Paradise ,” “ The Shop Around the Corner ,” and “ Heaven Can Wait .” They prompted this accolade from Pauline Kael, the eminent film critic of The New Yorker:

In 1983 the University of Wisconsin Press published “ Three Screen Comedies by Samson Raphaelson ” with an introduction by Pauline Kael.

All directed by Lubitsch, the three were “ Trouble in Paradise ,” “ Heaven Can Wait ,” and Raphaelson ’ s favorite, “ The Shop Around the Corner ” which had starred James Stewart and Margaret Sullivan and which Kael wrote was “ as close to perfection as a movie made by mortals is ever likely to be ; it couldn ’ t be the airy wonder it was without the structure Raphaelson built into it .” ( The story was remade in 1998 as “ You ’ ve Got Mail ,” with Tom Hanks and Meg Ryan.