Pauline Kael

Pauline Kael(/keɪl/;June 19, 1919 – September 3, 2001) was an Americanfilm criticwho wrote forThe New Yorkerfrom 1968 to 1991. Known for her "witty, biting, highly opinionated and sharply focused" reviews,Kael often defied the consensus of her contemporaries.

Pauline Kael
Author portrait of Kael from the dust jacket ofKiss Kiss Bang Bang(1968)
Born	(1919-06-19)June 19, 1919 Petaluma, California,U.S.
Died	September 3, 2001(2001-09-03)(aged 82) Great Barrington, Massachusetts,U.S.
Occupation	Film critic
Alma mater	University of California, Berkeley
Period	1951–1991
Spouse	Edward Landberg ​ ​ (m.1955;div.1959)​
Children	1

One of the most influential American film critics of her era,she left a lasting impression on the art form.Roger Ebertargued in an obituary that Kael "had a more positive influence on the climate for film in America than any other single person over the last three decades". Kael, he said, "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."In a blurb forThe Age of Movies,a collection of her writings for the Library of America, Ebert wrote that "LikeGeorge Bernard Shaw,she wrote reviews that will be read for their style, humor and energy long after some of their subjects have been forgotten. "Owen Gleibermansaid she "was more than a great critic. She reinvented the form, and pioneered an entire aesthetic of writing."

Early life and education

Kael was born to Isaac Paul Kael and Judith Kael (née Friedman), Jewish immigrants fromPoland,on a chicken farm among other Jewish chicken farmers,inPetaluma,California. Her siblings were Louis (1906),Philip (1909),Annie (1912),and Rose (1913).Her parents lost their farm when Kael was eight, and the family moved to San Francisco,where Kael attendedGirls High School.In 1936 she matriculated at theUniversity of California, Berkeley,where she studied philosophy, literature, and art. She dropped out in 1940. Kael had intended to go to law school, but fell in with a group of artistsand moved to New York City with the poetRobert Horan.

Three years later, Kael returned to Berkeley and "led a bohemian life", writing plays and working in experimental film.In 1948, she and the filmmakerJames Broughtonhad a daughter, Gina James, whom Kael raised alone.Gina had a congenital heart defect through much of her childhood,which Kael could not afford the surgery to correct.To support her daughter and herself, Kael worked a series of menial jobs such as cook and seamstress, along with stints as an advertising copywriter.

Early career

In 1952,Peter D. Martin,the editor ofCity Lightsmagazine,overheard Kael arguing about films in a coffeeshop with a friend and asked her to reviewCharlie Chaplin'sLimelight.Kael dubbed the film "Slimelight" and began publishing film criticism regularly in magazines.

Kael later said of her writing: "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."She disparaged the supposed critic's ideal of objectivity, calling it "saphead objectivity",and incorporated aspects of autobiography into her criticism.In a review ofVittorio De Sica's 1946 filmShoeshinethat has been ranked among her most memorable,Kael described seeing the film

after one of those terrible lovers' quarrels that leave one in a state of incomprehensible despair. I came out of the theater, tears streaming, and overheard the petulant voice of a college girl complaining to her boyfriend, "Well I don't see what was so special about that movie." I walked up the street, crying blindly, no longer certain whether my tears were for the tragedy on the screen, the hopelessness I felt for myself, or the alienation I felt from those who could not experience the radiance ofShoeshine.For if people cannot feelShoeshine,whatcanthey feel?... Later I learned that the man with whom I had quarreled had gone the same night and had also emerged in tears. Yet our tears for each other, and forShoeshine,did not bring us together. Life, asShoeshinedemonstrates, is too complex for facile endings.

Kael broadcast many of her early reviews on Berkeley's alternative public radio stationKPFA,and in 1955 she married Edward Landberg, the owner of the Berkeley Cinema-Guild and Studio.Their marriage soon ended in divorce, but he agreed to pay for Gina's heart surgery, and made Kael the manager of the cinema in 1955, a position she held until 1960.In that role, she programmed the films at the two-screen facility, "unapologetically repeat[ing] her favorites until they also became audience favorites".She also wrote "pungent" capsule reviews of the films, which her patrons began collecting.

Going mass-market

Kael continued to juggle writing with other work until she received an offer to publish a book of her criticism. Published in 1965 asI Lost It at the Movies,the collection was a surprise bestseller, selling 150,000 paperback copies. Coinciding with a job at the high-circulation women's magazineMcCall's,Kael (asNewsweekput it in a 1966 profile) "went mass".

That same year, Kael wrote a blistering review ofThe Sound of MusicinMcCall's.After mentioning that some of the press had dubbed it "The Sound of Money", she called the film's message a "sugarcoated lie that people seem to want to eat".According to legend,this review got her fired fromMcCall's(The New York Timessaid as much in Kael's obituary), but Kael and the magazine's editor, Robert Stein, denied this. According to Stein, he fired her "months later, after she kept panning every commercial movie fromLawrence of ArabiaandDr. ZhivagotoThe PawnbrokerandA Hard Day's Night."

Kael's dismissal fromMcCall'sled to a stint from 1966 to 1967 atThe New Republic,whose editors continually altered her writing without her permission. In October 1967, Kael wrote a long essay onBonnie and Clydethat the magazine declined to publish.William ShawnofThe New Yorkerobtained the piece and ran it in theNew Yorkerissue of October 21.Kael's rave review was at odds with prevailing opinion, which was that the film was inconsistent, blending comedy and violence.According to criticDavid Thomson,"she was right about a film that had bewildered many other critics."A few months after the essay ran, Kael quitThe New Republic"in despair".In 1968, Shawn asked her to joinThe New Yorkerstaff; she alternated as film critic every six months withPenelope Gilliattuntil 1979, and became the sole critic in 1980 after a year's leave of absence working in the film industry.

The New Yorkertenure

Initially, many considered Kael's colloquial, brash writing style an odd fit with the sophisticated and genteelNew Yorker.Kael remembered "getting a letter from an eminentThe New Yorkerwriter suggesting that I was trampling through the pages of the magazine with cowboy boots covered with dung ".During her tenure atThe New Yorker,she took advantage of a forum that permitted her to write at length—and with minimal editorial interference—thereby achieving her greatest prominence. By 1968,Timemagazine called her "one of the country's top movie critics".

In 1970, Kael received aGeorge Polk Awardfor her work as a critic atThe New Yorker.She continued to publish collections of her writing with suggestive titles such asKiss Kiss Bang Bang,When the Lights Go Down,andTaking It All In.Her fourth collection,Deeper into Movies(1973), won the U.S.National Book Awardin theArts and Letters category.It was the first nonfiction book about film to win a National Book Award.

Kael also wrote philosophical essays on movie-going, the modern Hollywood film industry, and what she saw as the lack of courage on the part of audiences to explore lesser-known, more challenging movies (she rarely used the word "film" because she felt it was too elitist). Among her more popular essays were a damning 1973 review ofNorman Mailer's semi-fictionalMarilyn: a Biography(an account ofMarilyn Monroe's life);an incisive 1975 look atCary Grant's career;and "Raising Kane"(1971), a book-length essay on the authorship of the filmCitizen Kanethat was the longest piece of sustained writing she had yet done.

Commissioned as an introduction to the shooting script inThe Citizen Kane Book,"Raising Kane" was first printed in two consecutive issues ofThe New Yorker.The essay extended Kael's dispute of theauteur theory,arguing thatHerman J. Mankiewicz,the screenplay's coauthor, was virtually its sole author and the film's actual guiding force.Kael further alleged thatOrson Welleshad schemed to deprive Mankiewicz of screen credit.Welles considered suing Kael forlibel.He was defended by critics, scholars and friends, includingPeter Bogdanovich,who rebutted Kael's claims in a 1972 articlethat included the revelation that Kael had appropriated the extensive research of a UCLA faculty member without crediting him.

Woody Allensaid of Kael: "She has everything that a great critic needs except judgment. And I don't mean that facetiously. She has great passion, terrific wit, wonderful writing style, huge knowledge of film history, but too often what she chooses to extol or fails to see is very surprising."

Kael battled the editors of theNew Yorkeras much as her own critics.She fought with Shawn to review the 1972 pornographic filmDeep Throat,eventually relenting.According to Kael, after reading her unfavorable review ofTerrence Malick's 1973 filmBadlands,Shawn said, "I guess you didn't know that Terry is like a son to me." Kael responded, "Tough shit, Bill", and her review was printed unchanged.Other than sporadic confrontations with Shawn, Kael said she did most of her work at home, writing.

Upon the release of Kael's 1980 collectionWhen the Lights Go Down,herNew YorkercolleagueRenata Adlerpublished an 8,000-word review inThe New York Review of Booksthat dismissed the book as "jarringly, piece by piece, line by line, and without interruption, worthless."Adler argued that Kael's post-1960s work contained "nothing certainly of intelligence or sensibility" and faulted her "quirks [and] mannerisms", including repeated use of "bullying" imperatives and rhetorical questions. The piece quickly became infamous in literary circles,described byTimemagazine as "the New York literary Mafia['s] bloodiest case of assault and battery in years."Kael did not respond to it, but Adler's review became known as "the most sensational attempt on Kael's reputation".

In 1979, Kael accepted an offer fromWarren Beattyto be a consultant toParamount Pictures,but left the position after only a few months to return to writing criticism.

Later years

In the early 1980s, Kael was diagnosed withParkinson's disease,which sometimes has acognitivecomponent. As her condition worsened, she became increasingly depressed about the state of American films, along with feeling that "I had nothing new to say".In a March 11, 1991, announcement thatThe New York Timescalled "earth-shattering", Kael announced her retirement from reviewing films regularly.She said she would still write essays forThe New Yorkerand "reflections and other pieces of writing about movies",but over the next 10 years, she published no new work except an introduction to her 1994 compendiumFor Keeps.In the introduction (which was reprinted inThe New Yorker), Kael wrote: "I'm frequently asked why I don't write my memoirs. I think I have".

Though she published nothing new, Kael was not averse to giving interviews, occasionally giving her opinion on new films and television shows. In a 1998 interview withModern Maturity,she said she sometimes regretted not being able to review: "A few years ago, when I sawVanya on 42nd Street,I wanted to blow trumpets. Your trumpets are gone once you've quit. "She died at her home inGreat Barrington, Massachusetts,on September 3, 2001, at the age of 82.

Opinions

Kael's opinions often ran contrary to her fellow critics'. Occasionally, she championed films considered critical failures, such asThe WarriorsandLast Tango in Paris.She was not especially cruel to some films that many critics deplored—such as the 1972Man of La Mancha(she praisedSophia Loren's performance). She panned some films that had widespread critical admiration, such asNetwork,A Woman Under the Influence( "murky, ragmop" ),The Loneliness of the Long Distance Runner,mostexperimental cinema(calling it "a creature of publicity and mutual congratulations on artistry" ), most student films ( "freshmen compositions" ),It's a Wonderful Life,Shoah( "logy and exhausting" ),Dances with Wolves( "a nature boy movie" ),and2001: A Space Odyssey( "monumentally unimaginative" ). Her opinions' originality and the forceful way she expressed them won her ardent supporters and angry detractors.

Kael's reviews included a pan ofWest Side Story(1961) that drew harsh replies from its fans; ecstatic reviews ofZandMASHthat enormously boosted their popularity; and enthusiastic appraisals ofBrian De Palma's early films. Her "preview" ofRobert Altman's filmNashvilleappeared in print several months before the film was completed, in an attempt to prevent the studio from recutting the film and to catapult it to box-office success.

Kael was an opponent of theauteur theory,criticizing it both in her reviews and in interviews. She preferred to analyze films without thinking about the director's other works.Andrew Sarris,a key proponent of the theory, debated it with Kael in the pages ofThe New Yorkerand various film magazines.Kael argued that a film should be considered a collaborative effort. In "Raising Kane",she argues thatCitizen Kanerelies extensively on the distinctive talents of Mankiewicz and cinematographerGregg Toland.

Views on violence

Kael had a taste for antihero films that violate taboos involving sex and violence; this reportedly alienated some of her readers. But she pannedMidnight Cowboy(1969), theX-ratedantihero film that won anOscar for Best Picture.She also strongly disliked films she felt were manipulative or appealed in superficial ways to conventional attitudes and feelings. She was particularly critical ofClint Eastwood:her reviews of his films and acting were resoundingly unfavorable, and she became known as his nemesis.

Kael was an enthusiastic, if occasionally ambivalent, supporter ofSam PeckinpahandWalter Hill's early work, both of whom specialized in violent action dramas. Her collection5001 Nights at the Moviesincludes favorable reviews of nearly all of Peckinpah's films exceptThe Getaway(1972), as well as Hill'sHard Times(1975),The Warriors(1979), andSouthern Comfort(1981). Despite her initial dismissal ofJohn Boorman'sPoint Blank(1967) for what she felt was its pointless brutality, she later called it "intermittently dazzling" with "more energy and invention than Boorman seems to know what to do with... one comes out exhilarated but bewildered".

But Kael reacted badly to some action films she felt pushed what she called "right-wing" or "fascist" agendas. She calledDon Siegel'sDirty Harry(1971), starring Eastwood, a "right-wing fantasy", "a remarkably single-minded attack on liberal values",and "fascist medievalism".In an otherwise extremely favorable review of Peckinpah'sStraw Dogs,Kael concluded that Peckinpah had made "the first American film that is a fascist work of art".

In her review ofStanley Kubrick'sA Clockwork Orange(1971), Kael wrote that she felt some directors who used brutal imagery were desensitizing audiences to violence:

At the movies, we are gradually being conditioned to accept violence as a sensual pleasure. The directors used to say they were showing us its real face and how ugly it was in order to sensitize us to its horrors. You don't have to be very keen to see that they are now in fact de-sensitizing us. They are saying that everyone is brutal, and the heroes must be as brutal as the villains or they turn into fools. There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. But this would deny those of us who don't believe in censorship the use of the only counterbalance: the freedom of the press to say that there's anything conceivably damaging in these films—the freedom to analyze their implications. If we don't use this critical freedom, we are implicitly saying that no brutality is too much for us—that only squares and people who believe in censorship are concerned with brutality.

Accusations of homophobia

In his preface to a 1983 interview with Kael for the gay magazineMandate,Sam Staggswrote: "she has always carried on a love/hate affair with her gay legions.... like the bitchiest queen in gay mythology, she has a sharp remark about everything".But in the early 1980s, largely in response to her review of the 1981 dramaRich and Famous,Kael faced notable accusations ofhomophobia.First remarked upon byStuart ByroninThe Village Voice,according to gay writerCraig Seligman,the accusations eventually "took on a life of their own and did real damage to her reputation".

In her review, Kael called the straight-themedRich and Famous"more like a homosexual fantasy", saying that one female character's "affairs, with their masochistic overtones, are creepy, because they don't seem like what a woman would get into".Byron, who "hit the ceiling" after reading the review, was joined byThe Celluloid ClosetauthorVito Russo,who argued that Kael equated promiscuity with homosexuality, "as though straight women have never been promiscuous or been given the permission to be promiscuous".

In response to her review ofRich and Famous,several critics reappraised Kael's earlier reviews of gay-themed films, including a wisecrack Kael made about the gay-themedThe Children's Hour:"I always thought this was why lesbians needed sympathy—that there isn't much theycando. "Seligman has defended Kael, saying that these remarks showed "enough ease with the topic to be able to crack jokes—in a dark period when other reviewers... 'felt that if homosexuality were not a crime it would spread.'"Kael rejected the accusations as "craziness", adding, "I don't see how anybody who took the trouble to check out what I've actually written about movies with homosexual elements in them could believe that stuff."

Nixon quote

See also:False consensus effect

In December 1972, a month after U.S. PresidentRichard Nixonwasreelected in a landslide,Kael gave a lecture at theModern Language Associationduring which she said: "I live in a rather special world. I only know one person who voted for Nixon. Where they [Nixon's other supporters] are I don't know. They're outside my ken. But sometimes when I'm in a theater I can feel them." ANew York Timesarticle about the lecture quoted this.

Kael was subsequently misquoted as having said, "I can't believe Nixon won. I don't know anyone who voted for him" or something that similarly expressed surprise at the election result.This misquotation became anurban legend,and has been cited by conservatives (such asBernard Goldberg,in his 2001 bookBias) as an example of insularity among theliberal elite.The misquotation has also been attributed to other writers, such asJoan Didion.

Influence

As soon as she began writing forThe New Yorker,Kael greatly influenced her fellow critics. In the early 1970s,Cineramadistributors "initiate[d] a policy of individual screenings for each critic because her remarks [during the film] were affecting her fellow critics".In the 1970s and 1980s, Kael cultivated friendships with a group of young, mostly male critics, some of whom emulated her distinctive writing style. Referred to derisively as the "Paulettes", they dominated national film criticism in the 1990s. Critics who have acknowledged Kael's influence include, among many others,A. O. ScottofThe New York Times,David DenbyandAnthony LaneofThe New Yorker,David EdelsteinofNew York Magazine,Greil Marcus,Elvis Mitchell,Michael Sragow,Armond White,andStephanie ZacharekofSalon.It was repeatedly alleged that, after her retirement, Kael's "most ardent devotees deliberate[d] with each other [to] forge a common School of Pauline position" before their reviews were written.When confronted by the rumor that she ran "a conspiratorial network of young critics", Kael said she believed that critics imitated her style rather than her opinions, saying, "A number of critics take phrases and attitudes from me, and those takings stick out—they're not integral to the writer's temperament or approach".

Asked in 1998 whether she thought her criticism had affected the way films were made, Kael deflected the question, saying, "If I say yes, I'm an egotist, and if I say no, I've wasted my life".Several directors' careers were profoundly affected by her, most notably that ofTaxi DriverscreenwriterPaul Schrader,who was accepted atUCLA Film School's graduate program on Kael's recommendation. Under her mentorship, Schrader worked as a film critic before taking up screenwriting and directing full time.Derek Malcolm,who worked for several decades as a film critic forThe Guardian,said: "If a director was praised by Kael, he or she was generally allowed to work, since the money-men knew there would be similar approbation across a wide field of publications".Alternately, Kael was said to have had the power to prevent filmmakers from working;David Leansaid that her criticism of his work "kept him from making a movie for 14 years"(referring to the 14-year break betweenRyan's Daughterin 1970 andA Passage to Indiain 1984).

In 1978, Kael received theWomen in FilmCrystal Awardfor outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women in the entertainment industry.In his 1998 filmWillow,George Lucasnamed one of the villains "General Kael" after her. Kael had often reviewed Lucas's work unenthusiastically; in her review ofWillow,she called the character an "hommageà moi".

Though he began directing films after she retired,Quentin Tarantinowas also influenced by Kael. He read her criticism voraciously while growing up and said that Kael was "as influential as any director was in helping me develop my aesthetic".Wes Andersonrecounted his efforts to screen his filmRushmorefor Kael in a 1999The New York Timesarticle titled "My Private Screening With Pauline Kael".He later wrote to Kael, saying: "[Y]our thoughts and writing about the movies [have] been a very important source of inspiration for me and my movies, and I hope you don't regret that".In 1997, cultural criticCamille Pagliasaid Kael was her second-favorite critic (behindParker Tyler), criticizing Kael's commentary on such films asLa Dolce VitaandLast Year at Marienbadbut also calling her "unfailingly perceptive [...] [her] tart, lively, colloquial style I thought exactly right for a mass form like the movies."

In January 2000, filmmakerMichael Mooreposted a recollection of Kael's responseto his 1989 documentary filmRoger & Me.Moore wrote that Kael was incensed that she had to watchRoger & Mein a cinema after Moore refused to send her a tape for her to watch at home, and she resentedRoger & MewinningBest Documentaryat the 55thNew York Film Critics Circle Awards.Moore said:

two weeks later, she wrote a nasty, mean review of my film inThe New Yorker.It was OK with me that she didn't like the film, and it didn't bother me that she didn't like the point I was making, or even how I was making it. What was so incredibly appalling and shocking is how she printed outright lies about my movie. I had never experienced such a brazen, bald-faced barrage of disinformation. She tried to rewrite history.... Her complete fabrication of the facts was so weird, so out there, so obviously made-up, that my first response was this must be a humor piece she had written.... But, of course, she wasn't writing comedy. She was a deadly serious historical revisionist.

Kael's career is discussed at length in the 2009 documentaryFor the Love of Moviesby critics whose careers she helped shape, such asOwen GleibermanandElvis Mitchell,as well as by those who fought with her, such asAndrew Sarris.The film also shows several of Kael's appearances onPBS,including one alongsideWoody Allen.In 2011, Brian Kellow published a biography of Kael,A Life in the Dark.

Rob Garver's documentaryWhat She Said: The Art of Pauline Kaelwas released in 2018. WithSarah Jessica Parkernarrating for Kael, the film is a portrait of Kael's work and her influence on the male-dominated worlds of cinema and film criticism.

Awards

• 1964:John Simon Guggenheim Memorial Foundation Fellowship
• 1970:George Polk Award,Criticism
• 1974:National Book Award,Arts and Letters, forDeeper into Movies
• 1978: Crystal Award,Women in Film Crystal Awards
• 1980: Muse Award,New York Women in Film & Television
• 1991: Mel Novikoff Award,San Francisco International Film Festival
• 1994: Special Award,Los Angeles Film Critics AssociationAwards
• 1995: Writer Award,Gotham Independent Film Awards
• 2012: Posthumous induction into theOnline Film & Television AssociationFilm Hall of Fame, Behind the Scenes, Film Criticism

Bibliography

Books

The Citizen Kane Book(1971)

• I Lost It at the Movies(1965)
• Kiss Kiss Bang Bang(1968)ISBN0-316-48163-7
• Going Steady(1969)ISBN0-553-05880-0
• The Citizen Kane Book(1971)OCLC209252
• Deeper into Movies(1973)ISBN0-7145-0941-8
• Reeling(1976)
• When the Lights Go Down(1980)ISBN0-03-042511-5
• 5001 Nights at the Movies(1982, revised in 1984 and 1991)ISBN0-8050-1367-9
• Taking It All In(1984)ISBN0-03-069362-4
• State of the Art(1985)ISBN0-7145-2869-2
• Hooked(1989)
• Movie Love(1991)
• For Keeps(1994)
• Raising Kane, and other essays(1996)

Reviews and essays

• "Trash, Art, and the Movies",essay published in the Feb. 1969 issue ofHarper's
• "Raising Kane",book-length essay on the making ofCitizen Kanepublished in the February 20, 1971 and February 27, 1971 issues ofThe New Yorker
• "Stanley Strangelove",review ofA Clockwork Orangefrom a January 1972 issue ofThe New Yorker
• "The Man From Dream City",profile ofCary Grantfrom the July 14, 1975 issue ofThe New Yorker
• Kael, Pauline (June 23, 1980)."Why Are Movies So Bad? Or, The Numbers".The New Yorker.p. 82.
• Kael, Pauline (January 7, 1985). "The Current Cinema: Fever Dream / Echo Chamber".The New Yorker.Vol. 60, no. 47. pp. 66–70.ReviewsMrs. Soffel,directed byGillian Armstrong,andThe Cotton Club,directed byFrancis Ford Coppola
• Kael, Pauline (January 14, 1985). "The Current Cinema: Unloos'd Dreams".The New Yorker.Vol. 60, no. 48. pp. 112–115.ReviewsA Passage to India,directed byDavid Lean
• Kael, Pauline (January 28, 1985). "The Current Cinema: Lovers and Fools".The New Yorker.Vol. 60, no. 50. pp. 86–91.ReviewsMicki and Maude,directed byBlake Edwards;Starman,directed byJohn Carpenter;The Flamingo Kid,directed byGarry Marshall

See also

• Women in film
• Andrew Sarris
• Auteur theory
• Film criticism
• The New Yorker
• Susan Sontag

References

Works cited

• Brantley, Will, ed. (1996).Conversations with Pauline Kael.University Press of Mississippi.ISBN0-87805-899-0.
• Davis, Francis(2002).Afterglow: A Last Conversation With Pauline Kael.Cambridge: Da Capo.ISBN0-306-81230-4.
• Seligman, Craig (2004).Sontag & Kael: Opposites Attract Me.New York: Counterpoint.ISBN1-58243-311-9.
• Kellow, Brian(2011).Pauline Kael: a life in the dark.New York: Viking.ISBN978-0-670-02312-7.OCLC938839616.

Further reading

• Taylor, Charles (June 19, 2019)."Happy Birthday, Pauline".Dissent Magazine.
• Stengel, Wayne B., ed. (2015).Talking about Pauline Kael: critics, filmmakers, and scholars remember an icon(1 ed.). Lanham, Maryland: Rowman & Littlefield.ISBN978-1-4422-5460-2.OCLC906936830.RetrievedFebruary 10,2021.

External links

• Pauline KaelatIMDb
• Lerman, Maya."Finding aid: Pauline Kael's papers and correspondence".Lilly Library.Indiana University, Bloomington.
• "Pauline Kael: Links & Resources".RockCritics Archives.Archived fromthe originalon June 16, 2016.RetrievedFebruary 9,2021.
• Vanneman, Alan (November 2004)."The Pearls of Pauline (Kael, That Is) The little film critic who could — sort of".Bright Lights Film Journal(46). Oakland, California. Archived fromthe originalon July 21, 2012.RetrievedFebruary 9,2021.
• Rossen, Paul."Pauline Kael (1919–2001)".Archived fromthe originalon May 26, 2017.RetrievedFebruary 9,2021.
• Sawhill, Ray;Frost, Polly(1989)."Pauline Kael".Interview.Google Sites:Ray Sawhill.RetrievedFebruary 9,2021.
• Martin, Rachel(December 4, 2011)."Pauline Kael's Legacy Built By Straying From Herd: interview with Brian Kellow, Kael biographer".All Things Considered.RetrievedFebruary 9,2021.
• What She Said: The Art of Pauline KaelonIMDb
• What She Said: The Art of Pauline Kaelofficial siteArchivedDecember 13, 2019, at theWayback Machine
• "Transcript: What She Said: The Art of Pauline Kael".TVOntario.