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Pauline KaelAn employee of the American weekly "The New Yorker"
Date of Birth: 19.06.1919
Country:  USA |
Content:
- Polin Kael: An Iconoclastic Force in Film Criticism
- Embracing Film Criticism
- Rule-Breaking Approach
- Championing "Bonnie and Clyde"
- Deconstructing "Citizen Kane"
- Provocative Opinions
- Legacy and Impact
Polin Kael: An Iconoclastic Force in Film Criticism
Formative YearsBorn to Polish-Jewish immigrants on a California farm, Polin Kael's early life was marked by a refusal to conform. She pursued philosophy, literature, and art at University of California, Berkeley, but her rebellious nature eventually led to her withdrawal in 1940. Determined to become a playwright, she immersed herself in the world of theater.
Embracing Film Criticism
Kael's foray into film criticism came in the 1950s. Her 1953 essay on the films of Charlie Chaplin ignited her reputation as a sharp-tongued, insightful critic. Her work at McCall's magazine in 1965-1966 further honed her skills, leading to her tenure at The New Yorker from 1967 to 1990.
Rule-Breaking Approach
Kael's approach to film criticism was unconventional, defying the intellectualized dogma of her era. She believed in experiencing films emotionally, watching them only once and relying on her immediate reactions. "She seldom dug any ideas out of a movie or went beyond the obvious 'I like this' or 'I don't like that,'" recalls Dave Kehr.
Championing "Bonnie and Clyde"
In 1967, Kael became a pivotal force in the rehabilitation of the New Hollywood film "Bonnie and Clyde." Her groundbreaking 9,000-word review in The New Yorker championed its controversial narrative and violent aesthetics, reshaping critical opinion and ensuring the film's enduring legacy. Scriptwriter Robert Towne asserted, "Without her, 'Bonnie and Clyde' would have died the death of a stray dog."
Deconstructing "Citizen Kane"
Kael's most contentious essay, "Raising Kane" (1971), challenged the authorship of Orson Welles's cinematic masterpiece, "Citizen Kane." She argued that screenwriter Herman Mankiewicz played a significant role in shaping the film's iconic script. Her theory ignited a fierce debate that continues to this day.
Provocative Opinions
Kael's unabashed opinions extended beyond the cinematic landscape. She openly criticized Hollywood starlets like Lana Turner, famously dismissing her as "a commodity, not an actress." Her love for Jean-Luc Godard, her defense of Sam Peckinpah's revisionist style, and her admiration for "Last Tango in Paris" further cemented her reputation as a provocative contrarian.
Legacy and Impact
Kael's long-running feud with "intellectual establishment" film critic Andrew Sarris fueled a robust debate about auteurism. Her influence on subsequent generations of critics is undeniable. Roger Ebert, who studied her reviews from adolescence, later declared, "I never went to film school. Polin Kael was my film school in my head." Quentin Tarantino similarly credited her with shaping his cinematic knowledge.
Polin Kael's legacy remains one of iconoclasm, incisive intellect, and an uncompromising passion for the moving image. Her writings continue to inspire and challenge film enthusiasts worldwide, ensuring her status as one of the most influential critics in cinema history.
