PAULINE KAEL—Deeper Into Movies—1st HC—“Unfailingly perceptive”

Description: • For Your Consideration: • A HARDCOVER (First Edition, First Printing) of: • “DEEPER INTO MOVIES”(ATLANTIC–LITTLE, BROWN, 1973) (HARDCOVER, First Edition, First Printing) • BY PAULINE KAEL • ABOUT THE AUTHOR: • “MS. KAEL was probably the most influential film critic of her time. She reviewed movies for THE NEW YORKER from 1968 to 1979, and again, after working briefly in the film industry, from 1980 until 1991. Earlier, she was a film critic for LIFE magazine in 1965, for McCALL’S in 1965 and 1966 and for THE NEW REPUBLIC in 1966 and 1967…. Enchanting her fans and infuriating her foes, rarely dull and often sharp and funny, with an intellectualism that reflected her background as a student of philosophy, MS. KAEL was never anything but outspoken…. MS. KAEL was always provocative. Her seductive writing style bred a legion of acolytes, known as PAULETTES.”—NEW YORK TIMES (THE AUTHOR’S OBITUARY, 2001) • “She was as influential as any director was in helping me develop my aesthetic. I never went to film school, but she was the professor in the film school of my mind.”—QUENTIN TARANTINO • “The originality of PAULINE KAEL’s mind and temperament, her formidable intelligence, her eloquent use of the vernacular, her extraordinary analytical powers, her insight into character, her ability to shed light wherever the real world intersects with the world on film, her enormous gift for social observation, the wit and energy and clarity of her prose all go into making her the singular critic that she is.” —WILLIAM SHAWN, EDITOR, THE NEW YORKER • “What she is primarily is a writer; one reads her for the sheer pleasure her writing affords. Her opinions are forceful, convincing, often unexpected, but whether or not one agrees with them one comes away from her writings in a state of exhilaration.”—WILLIAM SHAWN, EDITOR, THE NEW YORKER, CONT. • “She has long been the most impassioned, defiantly controversial figure in American film criticism. And she will doubtless remain so….” —JANET MASLIN, NEW YORK TIMES (1991) • “Her witty, biting, highly opinionated, and sharply focused reviews (of which five more collections were eventually published) made her arguably the most influential American film critic of her time.” —ENYCLOPEDIA BRITANNICA • “PAULINE KAEL was not only one of our greatest film critics, but one of our best nonfiction prose writers.” —PHILLIP LOPATE • “More than a great critic. She reinvented the form, and pioneered an entire aesthetic of writing.”—OWEN GLEIBERMAN • “Unfailingly perceptive.”—CAMILLE PAGALIA • “PAULINE KAEL writes in a fever, like a movie-mad monologist trying to get in the last word with herself. Her style has the heat and bite of great gossip, and her thinking makes it literature. KAEL’s prose has a breezy, confidential rhythm that pulls us right into her head. I think she could make a movie fan out of anyone—except the dull or the doctrinaire (who are, of course, her usual critics).”—DAVID ELLIOTT, CHICAGO SUN-TIMES BOOK WEEK • “A brilliant writer, she slammed and praised with equal ability, coining memorable phrases to castigate those she thought fundamentally untalented and to boost the reputations of her favourites. Reading her would invariably stimulate argument and, whether you agreed or not, it was difficult to put any of her reviews down. That was her great merit; she was an utterly compulsive read.”—DEREK MALCOLM • “I care about MISS KAEL’s criticism as literature. Her reviews can be read before, immediately after, and long after we have seen the movie that inspires or exasperates her.” —JOHN LEONARD • “Anyone concerned with the future of civilization as we know it could do much worse than cast a cold eye over this utterly twentieth-century pilgrim’s progress.” —JOHN COLEMAN, BOOK WORLD • “KAEL changed the way we see. Poets aren’t the only unacknowledged legislators of the world; great critics write the text as well.” ―SAN FRANCISCO EXAMINER • “Since the days of JAMES AGEE—whom KAEL surpassed — no other critic has ever had her brains, her humor, her enthusiasm, or her influence.” —TOM CARSON, ENTERTAINMENT WEEKLY • “Like GEORGE BERNARD SHAW, she wrote reviews that will be read for their style, humor, and energy long after some of their subjects have been forgotten.…. [She] had no theory, no rules, no guidelines, no objective standards. You couldn’t apply her ‘approach’ to a film. With her it was all personal.”—ROGER EBERT • “A great critic…with a body of criticism that can be compared with SHAW’s criticism of music and the theatre.” ―TIMES LITERARY SUPPLEMENT (LONDON) • “She is, indeed, the EDMUND WILSON of film reviewers.” ―LARRY McMURTRY • “I would be hard to be as engaged with the world as PAULINE was, in terms of her energy, in terms of her intellectual curiosity, in terms of her capacity for outrage and love." —GREIL MARCUS • “She's never said a good thing about me yet. That dirty old broad. But she’s probably the most qualified critic in the world. ’Cause she cares about film and those who are involved in it. I wish I could really rap her. But I can’t. ’Cause she’s very, very competent. She knows what she’s talking about." —JERRY LEWIS, “THE DICK CAVETT SHOW” (1973) • “Like most pundits, KAEL was thick-fisted and thin-skinned. But Lord, that wild old woman could write…. Her hyperactive intelligence wanted movies to speak up, move fast, go crazy, make her swoon. She needed pictures to do for her what her reviews did for her readers.”—RICHARD CORLISS, TIME (1994) • “Her words are at once ethereally beautiful and corrosive; they linger in the mind—sometimes like spirits, sometimes etched in acid—long after the page has been turned. Hers was a passionate kind of criticism, the kind that lead to arguments—feuds that lasted for years and seeped into countless articles by the most influential and well-respected critics. At KAEL’s peak, her reviews and articles had real consequences, real impact. If she loved a movie, it got a bigger audience. If she hated it, other critics were forced to respond loudly for fear of being drowned out by the deluge of her overwhelming following. Her readers were legion, and her detractors nearly matched her supporters in both size and fervor.” —GREG CWIK, POPMATTERS • “KAEL was the most brilliantly ad hoc critic of her time, and she made it possible to care about movies without feeling pompous or giddy by showing that what comes first in everyone’s experience of a movie isn’t the form or the idea but the sensation…. The manner of appreciation she invented has become the standard manner of popular culture criticism in America.”—LOUIS MENAND, NEW YORK REVIEW OF BOOKS (1995) • “The most quotable critic writing; but what is important and bracing is that she relates movies to other experiences, to ideas and attitudes, to ambition, books, money, other movies, to politics and the evolving culture, to moods of the audience, to our sense of ourselves—to what movies do to us, the acute and self-scrutinizing awareness of which is always at the core of her judgment.”—ELIOT FREMONT-SMITH, NEW YORK TIMES (1968) • “When KAEL was in top form—she was at her most influential from the late 1960s through the early 1990s, during her tenure as film critic for THE NEW YORKER—her reviews were characterized by passion, clarity and, more often than not, a welling good humor that made her terrific fun to read, whether or not one agreed with her conclusions.”—TIM PAGE, WASHINGTON POST • “You always had the sense that she deeply felt the connections between art and life. The movies weren’t just about the movies, and aesthetics, and entertainment. They were about, well, everything…. KAEL’s judgment…was often flawed, but overall, she was so good at what she did that you wanted to read her reviews even of movies you had never seen and probably never would, just to see what she had to say about it.”—ROD DREHER, THE AMERICAN CONSERVATIVE • “KAEL’s legendary essay-review about BONNIE AND CLYDE was published in 1967 in THE NEW YORKER…. It is one of the greatest pieces of journalism or criticism; perhaps the greatest I have ever read. This is heroic criticism, warrior criticism, live-ammo criticism that boldly intervenes in culture and unapologetically takes on everything: the movie, the movies, the audience, the other critics, history, society, politics, love and death…. KAEL’s criticism isn’t happy with the demurely submissive ‘handmaiden to the arts’ tag; she is more like JOAN OF ARC at the Battle of Orléans.” —PETER BRADSHAW • “The shrewdest thing to say about PAULINE KAEL—beyond recognising that she was essential—is that she was kind of crazy. Yet determined to seem rational or in control. In her best writing there was a marriage—no, an affair—between ecstasy and disgust. Her agitated voice and spurting rhythms were infectious. She was better than some of the film-makers she espoused—smarter, more giddily romantic, and more insistent that they do good work….”—DAVID THOMSON • “KAEL was so famously sharp that her hitjobs are almost blissfully cruel.” —PAMELA HUTCHINSON • “KAEL is renowned for sticking the knife in and giving it a slow twist…. And besides, she loved as fiercely as she hated. That struck me when I first stumbled on her books in a university library at the age of 19. I never knew reviews could run so long and so deep, or that critics could rummage around hungrily in a movie rather than merely making judgment calls. To read KAEL is to be in her skin as she sits in the cinema; morality, sensuality, intellect, and taste run together inseparably.”—RYAN GILBEY• “Her language is spankingly crisp and her reactions that of a ticket-buying human, not someone sweating ink as they try to impress. While always a populist…she also knew when not to forgive.” —KATE MUIR • “If you’re ever in the mood for conversational combat, go into a roomful of movie buffs and mention PAULINE KAEL. Half of the room will go into raptures; half will make great noises of disgust.” —BOOK BARN: A BIBLIOPHILE’S BLISS (BLOG)• “KAEL was extremely compelling as a public intellectual, a woman who enjoyed arguing with conviction and flair. She seemed to be having much more fun than, say, JOAN DIDION or MARY McCARTHY, and her appetite for language both sensual and sensuous showed that she equated being lady-like with being half a person. Her lack of self-doubt seemed almost superhuman.” —LAURIE WINER, LOS ANGELES REIVEW OF BOOKS • “Her writing was a beacon—eloquent, witty, learned, but above all personal, identifiably the perspective of someone who felt deeply about the subject at hand, but who thought about it deeply, too. KAEL was inspiring to read and to emulate because she made movie reviewing more than a frivolous species of journalism. She gave it vitality in ways that made arts journalism seem to matter.” —ARMOND WHITE, COLUMBIA JOURNALISM REVIEW • “With a deep knowledge of film history, a lively mind and a daring voice, for 24 years KAEL wrote passionate, crotchety film reviews. Many people read one of her reviews at breakfast, and spit out their coffee in laughter or disgust. KAEL thought that was a good thing; she enjoyed being a polarizing figure…. KAEL also showed that film criticism can be literature, worth reading for style alone.”—ANDREW SZANTON, MEDIUM • “What’s amazing about reading KAEL in book form 25, 40, and even half a century later is that her reviews retain the same power to excite and anger as when they were written. (And it’s bracing to be reminded that one of KAEL’s greatest strengths was puncturing liberal pieties.)” —ALLEN BARRA, DAILY BEAST• “Anyone interested in film or in writing should have on their shelves copies of, at the least, FOR KEEPS and 5001 NIGHTS AT THE MOVIES. KAEL was not only a great American film critic. She was also a great American writer. You can learn a lot from studying her prose.” —MATTHEW CONTINETTI, NATIONAL REVIEW• “One of the things I most loved…was her open contempt for professors of English and film studies! Although she was very well-read, before and after her college years at Berkeley, she rightly detested pretension and pomposity…. Browsing through the Library of America’s massive new collection of her writing…I was stunned at KAEL’s range and power. Her voice, shaped by the American idiom, is still utterly fresh and dynamic. She is a superb role model for young writers. She has a keen eye for crisp detail and a lust for both attack and celebration. This is a perfect moment for the release of [her writings]. Cultural criticism is in the dumps. Nothing important is coming out of academe, and the ‘serious’ general magazines are insular and verbose. Film criticism has waned, and the Web is overrun with gassy, sniggering, solipsistic snark…. I find KAEL stimulating and provocative even when I disagree with her. That’s the entire point of good writing!—to force the reader to think independently.”—CAMILLE PAGLIA, SLATE • “The Library of America’s sturdy, wondrous compilation…makes a solid argument for KAEL being this great American critic…. KAEL’s writing holds up so many years later—even if the films she’s writing about have not—in part because of her zest for the fight, for the engagement. In an age like our own, critics of note have in the main been exiled to media’s fringes, where they can safely carry on schismatic battles of choice about WONG KAR-WAI or TERRENCE MALICK on specialist blogs…. KAEL’s ability to bridge the high and the low, to write about the grungiest of genre flicks with the same acuity she brought to an art-house extravagance and being equally merciless to both, is one that’s in sadly short supply today.”—CHRIS BARSANTI, THE MILLIONS • “Generalizations simply don’t work on KAEL, because one of her great qualities as a critic was that she weighed every movie on its own merits and could see it in all its aspects – a virtue that links her to JAMES AGEE, the signal movie critic of the forties, whom she much admired.” —STEVE VINEBERG, CRITICS AT LARGE (WEBSITE) • “PAULINE KAEL stood only 4 feet 9 inches tall, but a decade after her death (and two decades after she published her last NEW YORKER review), her shadow still towers over the landscape of film criticism. Like it or lump it, if you write about movies in America today (and in the age of the Internet, who doesn’t?), you define yourself at least in part in relation to KAEL. In fact, you probably channel her from time to time without realizing it. Even the second-person ‘you’ in those sentences echoes KAEL’s chummy yet bullying voice: To read her is to be grabbed by the lapels and yanked down into the theater seat next to her.” —DANA STEVENS, SLATE • KAEL wrote “language that was nimble, jazzy, rich in feeling, and so…funny—especially in capturing the essence of an actor. That language was different from the drier, more arm’s-length voices that had preceded her, and it flowed so easily that you could be fooled into thinking it was just gushing out. You weren’t aware of how tightly structured her reviews really were. You experienced them as great monologues, often great comic monologues…. Notice I just slipped into writing ‘you.’ KAEL was criticized for employing the second person so often…. Anyone who picks up one of the books of her collected reviews for the first time will find—agree or disagree with her opinions—one of the great and most unquenchably vivacious American voices. Reading her, you’ll feel more alive. Yes, you.” —DAVID EDELSTEIN, VULTURE • “I worked to loosen my style—to get away from the term-paper pomposity that we learn at college. I wanted the sentences to breathe, to have the sound of a human voice.”—PAULINE KAEL • “Film criticism is exciting just because there is no formula to apply, just because you must use everything you are, and everything you know.” —PAULINE KAEL • • For other details about this book, please see below. • TITLE: “DEEPER INTO MOVIES” AUTHOR: PAULINE KAEL JACKET DESIGN: SEYMOUR CHAST TYPE: HARDCOVER PUBLISHER, LOCALE, & YEAR: AN ATLANTIC MONTLY PRESS BOOK / LITTLE, BROWN & COMPANY (Boston), 1973 EDITION: FIRST EDITION, FIRST PRINTING* *RE: On the Copyright Page, this statement: “FIRST EDITION” & this code: “T 02/73.” NOTE: This book is NOT an ex-library copy. PAGES: 458 ISBN: 0-316-48176-9 CONDITION OF DUST JACKET: VERY GOOD MINUS. Price is clipped. DJ is moderately age-toned & faded. Spine is sunned & stained/smudged. Top spine tip is chipped; bottom tip is rubbed. Top corners are chipped; bottom corners are bumped. Top edges are lightly but persistently worn. (Now protected in a Brodart archival cover.) CONDITION OF BOOK: VERY GOOD PLUS. Book is firm & square. Black boards are clean & bright—with light scratching. Corners & edges are fine. Spine is tight & uncreased with bright lettering & fine tips. Text-block edges are moderately age-toned. There is a small (2 x 2.50 inches) Christmas card (with writing on the inside) glued or taped to the front free endpaper. The pages are moderately age-toned but also pointedly bright & clean—with no writing, no underlining, no stains, no rips, no other foxing, no foul odor, etc. LOOKS UNREAD. • SHIPPING NEWS: This book will be wrapped with care before being shipped in a protected & sturdy box. THANK YOU! ********************** /\___/\=•ᆺ•= “We believe it’s good business to be good to our customers.” *********** FLAPPINCAT’s HOUSE RULES ***********1. GENERAL TREATMENT. 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Price: 45 USD

Location: Chapel Hill, North Carolina

End Time: 2024-10-13T22:29:45.000Z

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