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Kael and wrote
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.
One critic dubbed it a masterpiece ; Pauline Kael wrote that he " may be the most natural and least self-conscious screen actor that has ever lived ".
Pauline Kael wrote that Colbert was widely admired by American audiences from the time of mid-1930s.
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.
As critic Pauline Kael later wrote, he " seems an unlikely choice for the ghetto-born lawyer ... but this is one of the few screen roles that reveal his measure as an actor.
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.
Pauline Kael wrote :" This John Huston picture has a ripe and daring comic tone.
Film critic Pauline Kael wrote, " I didn't find it hard to accept the uninflected, deadpan tone, and to enjoy Buckaroo Banzai for its inventiveness and the gags that bounce off other adventure movies, other comedies.
The film critic Pauline Kael wrote of her performance as writer Joan Wilder, " Turner knows how to use her dimples amusingly and how to dance like a woman who didn ’ t know she could ; her star performance is exhilarating.
" Pauline Kael wrote in The New Yorker: " Peters is mysteriously right in every nuance.
" 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 ".
Writing for The New Yorker, Pauline Kael wrote that " Raising Arizona is no big deal, but it has a rambunctious charm.
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.
At the beginning of the sound era he was one of the highest-paid writers in the world, because, Kael writes, " he wrote the kind of movies that were disapproved of as " fast " and immoral.
" Pauline Kael wrote that her portrayal " may be the finest performance ever recorded on film.
Noted critic Pauline Kael wrote that, allegedly, " the starving extras made away with some of the banquets before they could be photographed ".
Pauline Kael in The New Yorker wrote of the film as a " romantic fantasy that has a forties-movie sultriness and an eighties movie-struck melancholy.
In an article of the New Yorker, Pauline Kael wrote that the score was a " beauty ", and that " at times, the music and the fiery dragon seem one ".
Pauline Kael wrote, " This sounds like a funnier, zestier piecure than it turns out to be .... As long as the movie stays within the conceits of the Holmesian legends, it's mildly, blandly amusing.
When film critic Pauline Kael wrote " Raising Kane ", her seminal 1971 New Yorker article on the genesis of Citizen Kane, The Power and the Glory was virtually a " lost film ".
In The New Yorker the critic Pauline Kael wrote that-" Watching Thérèse is like looking at a book of photographs of respectfully staged tableaux and not being allowed to flip the pages at your own speed.
Pauline Kael of The New Yorker wrote: " The movie is full of talented people, who [...] are fun to watch, but after a while the scenes that don't point anywhere begin to add up, and you start asking yourself: ' What is this movie about?
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.

Kael and her
While lauded for her achievements, Davis and her films were sometimes derided ; Pauline Kael described Now, Voyager ( 1942 ) as a " shlock classic ", and by the mid-1940s her sometimes mannered and histrionic performances had become the subject of caricature.
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 ".
The film was favourably reviewed by critic Pauline Kael in her film reviews collection Hooked.
Pauline Kael referred to her as " the great Ruth Chatterton ".
Bavmorda sends her daughter Sorsha ( Joanne Whalley ) and General Kael ( Pat Roach ), the leader of her army, after the midwife to retrieve Elora.
Kael, however, seizes Elora and takes her to Nockmaar.
* Pat Roach as General Kael: Villainous associate to Queen Bavmorda and high commander of her army.
Lucas based the character of General Kael ( Pat Roach ) on the famous film critic Pauline Kael, a fact that was not lost on Kael in her printed interview of the film.
When interviewed about her favorite film of all times, famed movie critic Pauline Kael stated that the director Dimitri Kirsanoff, in his silent experimental film Ménilmontant " developed a technique that suggests the movement known in painting as Futurism ".
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:
Her talent for impersonation was key in her humorous portrayals of such luminaries as Barbra Streisand, Ethel Merman, Arlene Francis, Pauline Kael, Sally Field, Sophia Loren, Beverly Sills, Lynn Redgrave, Linda Lavin, Bernadette Peters, Liza Minnelli, Connie Francis, Mother Teresa, Alice B. Toklas, Patti Smith, Brenda Vaccaro and Indira Gandhi.

Kael and review
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.
Not all reviews were positive: Pauline Kael in The New Yorker, in a review subtitled " Hot Air ", criticized the film's abundance of long, preachy speeches ; Chayefsky's self-righteous contempt for not only television itself but also television viewers ; and the fact that almost everyone in the movie, particularly Robert Duvall, has a screaming rant: " The cast of this messianic farce takes turns yelling at us soulless masses.
Film critic Pauline Kael gave the film a generally positive review.
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 ".
However, Pauline Kael greatly preferred Boorman's sequel to the original, writing in her review in The New Yorker that Exorcist II " had more visual magic than a dozen movies.
Following a negative review, Time magazine received letters from fans of the movie, and according to journalist Peter Biskind, the impact of critic Pauline Kael in her positive review of the film ( October 1967 New Yorker ) led other reviewers to follow her lead and re-evaluate the film ( notably Newsweek and Time ).
After visiting his parents in Santa Barbara, California, one last time in early July, as well as his friend, the literary critic Hugh Kenner, Kees returned to San Francisco and had dinner with various friends, including Pauline Kael, who appeared as a guest on Kees ’ s film review program on KPFA-FM, Behind the Movie Camera.
Pauline Kael gave the film a very positive review in The New Yorker: " Jonathan Demme's lyrical comedy Melvin and Howard which opened the New York Film Festival on September 26, is an almost flawless act of sympathetic imagination.
* 1981 review of the film by Pauline Kael
Pauline Kael stated in her review: " When he comes on wearing a boxlike ' big suit ' — his body lost inside this form that sticks out around him like the costumes in Noh plays, or like Beuys ' large suit of felt that hangs of a wall — it's a perfect psychological fit.
Film critic Pauline Kael worked at McCall's from 1965 to 1966, and was reportedly fired after writing a highly unfavorable review of The Sound of Music.

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