What She Said: The Art of Pauline Kael (2018) Poster

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6/10
A highly compressed view of a life lived at pace
conannz22 July 2019
Saw this today at a film festival in Auckland. It felt rushed and over stuffed full of trivia. Almost like the makers wanted coverage and balance :) I would have preferred a little more focus on some of the pivotal moments and we did get some of that.

Clips of Kael being interviewed were some of the best parts and there were also some notable responses by film makers, critics and others.

I suspect the clips from movies that were used were all very short because of licensing constraints but it would have been better to label the less obvious ones.

I didn't know the story about Mankiewicz and Citizen Kane. That seemed like one of the great moments and could have been teased out a little more.

We heard from her daughter and possibly grand daughter? I think the story about the collaboration with Warren Beatty was worth a deeper look but perhaps there were some legal fish hooks there.

The David Lean clips where he mentions he was devastated by a particular event where she took hime to task was interesting. Again I wonder if there was more to add there.

On the whole though I came out of the theatre reminded of the many times Kael had made a call on a movie and had by doing so added a little edge to the movie going experience.

I have enjoyed her writing and will look up some of those essays and reviews now.
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10/10
Love her or hate her her influence was not to be denied. An XLNT film.
barevfilm8 March 2019
"What she said: The Art of Pauline Kael" A portrait of the work of controversial film critic Pauline Kael and her influence on the male-dominated worlds of cinema and film criticism. Loved or hated her influence was undeniable. Image.jpeg Viewed at the 69th Berlin Film Festival 2019. "What She Said --The Art of Pauline Kael", solemnly, compiled and fully packed with testimonials from a steady stream of prominent film personalities, directors, writers, publishers, other film critics, etcetera, by an obvious admirer, New York based Rob Garver, his first feature length film. Among those seen in the film besides Kael herself at various points in her life are: directors Quentin Tarantino, Paul Schrader, Woody Allen, John Boorman, Peter Bogdanovich, and David Lean (Who was so crushed by her panning of his films that he retired from directing for several years!) actor Alec Baldwin, and half a dozen female film critics all commenting on how Kael influenced them one way or another. At one point Allen says that even though Pauline trashed some of his movies he valued her comments and insights and considered her to be the best critic around. Comedian director Jerry Lewis chimes in with: "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"

We see flashes of innumerable clips from films she commented on, both positively and negatively, included Citizen Kane, Last Tango in Paris, Bonnie and Clyde, Easy Rider, films of Joan Crawford, and many others. Throughout excerpts from her articles published in the New Yorker and elsewhere are read aloud over shots of the original articles while, most enlightening of all are numerous scenes of Kael herself discussing her views on film criticism and the reactions to her writing. As her notoriety mounted she was released from several other upscale magazines before settling in as the long term resident film critic of the staidly liberal New Yorker where she spent the bulk of her late career. Having become a celebrity in her own right she was a frequent guest on the top TV talk shows, Johnny Carson and Dick Cavett. The Cavett clips are particularly interesting but are cut off just a wee bit too short. We wanna see more of that! Her staunch opinionation earned her at least as much venomous hate mail as ecstatic fan mail, maybe more. But she was so sure of the correctness of her calls that the hate mail to her was like water off a duck's back. (i respect your right to disagree but I'm right and you're wrong). There is so much information, visual and verbal, in the relatively short 98 minutes running time that what we get is virtually a mini history of cinema as seen through the sharpest of eyes with the liveliest of words. Crucially, many people say that even if you had seen a film under discussion Kael's review forced you see it again as if you were seeing it for the first time. This critical study of America's most famous film critic goes back to her earliest days writing program notes for the art films shown at the hole in the wall movie house known as the Cinema Guild on the edge of the Berkeley campus in the late nineteen fifties. As a UCB student back then I began to see old Hollywood movies in a new light and developed a strong taste for foreign films from the insights expressed in her compact summaries. Above all It was Pauline's wit that hooked us all. Like it or not, Pauline Kael with her often acid laden but undeniably well argued views grounded in an encyclopedic knowledge of film history and an astounding memory for details of films seen years earlier, was the most influential film critic of the latter half of the XX. Century. She published 13 books of reviews some of which like "I Lost it at the Movies" became best sellers and conditioned the film views of an entire generation at a time when movies had suddenly become intellectual property, not mere weekend entertainment. This is the kind of film one wishes would have run twice as long because so much interesting material must have been trimmed in the final cut, and the personality of the woman on which it focuses is so utterly fascinating. I myself often disagreed 180° with Kael's opinions regarding certain films, for example, Bertolucci's "Last Tango in Paris", which she praised to High Heaven while I thought it was pure unadulterated garbage -- but I used to read her reviews regularly anyhow, for their verbal agility and pure unadulterated obstreperousness. This film was possibly the hottest ticket of the entire Berlin festival week and I had to purchase a general admission ticket to to make sure I woukdn't miss it. Tickets i had for two other screenings on the final day of the fest were not used because this was the perfect capston to the festival, and the rich taste it leaves behind was not to be further diluted! I personally had numerous differences of opinion with Ms. Kael but always enjoyed her wit and wisdom even when I disagreed. Overall, an Xlnt biodoc.
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8/10
Makes her even more human. But also makes her even more of an enigma
adityakripalani22 October 2019
Sometimes a good biopic attempts to hand you the human being behind the persona. In a really good biopic however, a filmmaker can take take you behind the persona, beyond the human being, deeper, into the enigma. Leaving you feeling that you know Pauline Kael but you now know her even less. Which is like someone feels about a loved one who's now dead. And gone. Lovely film.
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5/10
Needed more pizazz
dlynch8436 January 2020
Warning: Spoilers
Kael stirred up a lot of energetic responses to her criticisms. Admiration, hatred, controversy. This biodoc lacked the spice of her writing style. I could've used some highlighted printed descriptions to get the feel of how it was to read her stuff. And a little more of her background---some photos of her family in Petaluma California, circa 1919, when she was born. More film of San Francisco in the 30s and 40s. More on the Citizen Kane kerfuffle--(what she did and didn't do). And it could have at least mentioned the name of the David Lean film Kael excoriated (Ryan's Daughter).
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