It's as close to perfect as you'd want it to be. Too gentle. The other passengers are lecherous Ethel Merman (who sings "It's Just an Old Spanish Custom"), and Ray Milland and Leon Errol as rich prigs. The romantic problems of the leads (Joel McCrea and Claudette Colbert) get shoved aside by the secondary characters. (0-100 point scale) Pauline Kael's Scores. The irony of this hyped-up, slam-bang production is that those involved apparently don't really believe that beauty and romance can be expressed in modern rhythms, because whenever their Romeo and Juliet enter the scene, the dialogue becomes painfully old-fashioned and mawkish, the dancing turns to simpering, sickly romantic ballet, and sugary old stars hover in the sky. A Kingsgate Film, released by De Laurentiis. Pauline Kael wrote for The New Yorker from 1967 until her retirement, in 1991. Score by Antoine Duhamel. She states there is no reality in the film, that everything is so cinematically dramatized that it’s hard to take seriously. Movies; TV; Average review score: 63: Highest review score: 100: … Reviews. But the film is feebly written, and the director, Peter Pearson, can't do anything with the scenes involving a college girl (Dayle Haddon) who speaks what are clearly meant to be bitter truths. In the Veidt-Ivan sequence, which was obviously a major influence on Eisenstein's IVAN THE TERRIBLE, Ivan is a jokester-poisoner who enjoys presenting his victims with hourglasses timed to run out at the precise moment of their deaths; one day he discovers an hourglass labelled "Ivan." Though made in 16 mm, for Italian television, this extraordinary work--pungent and carnal, and in faintly psychedelic Romanesque color--took the two top prizes at Cannes (the Golden Palm and the International Critics' Prize). Let me make a man of you!" Pauline Kael has awarded high ratings to Planet of the Apes (1968), The Godfather: Part II (1974), Invasion of the Body Snatchers (1978), Platoon (1986) and Taxi Driver (1976). The movie is about the men's impulses to revert to their former crime patterns, and about their efforts to become professional men of the theatre. Robert Redford is a straw-haired jock from Virginia who wants to have a good time, and Barbra Streisand is a frizzy-haired Communist who's always sure she's right. With Silvain as Cauchon, Michel Simon, André Berley, Maurice Schutz, and the young Antonin Artaud--as Massieu he's the image of passionate idealism. She was the most powerful, loved and hated film critic of … (2 hours and 43 minutes.) In Italian. MGM. Cinematography by Subrata Mitra; music by Ravi Shankar. For a more extended discussion, see Pauline Kael's book Movie Love. Paramount. If Lean's technique is to simplify and to spell everything out in block letters, this kind of clarity has its own formal strength. Paramount. He begins with just a slight stylization of civilized living now--the people are more adulterous, more nakedly mercenary, touchier. Produced by Lawrence Weingarten, for MGM. Walter Lang directed; Hermes Pan did the choreography. The Editors | … Nick Nolte plays a holdup man serving "life without possibility"--that is, without possibility of parole. Kael’s legendary essay-review about Bonnie and Clyde was published in 1967 in the New Yorker. Norman Taurog directed; the Harry Revel and Mack Gordon songs include "Love Thy Neighbor" and "She Reminds Me of You.". The script by Federico Fellini and Rossellini was based on stories they and others had written. Pabst, one of the giants of the screen, is perhaps most famous for his treatment of sex, violence, and abnormal psychology, and Wedekind's sex tragedy provided startling material. Also with Leopoldo Trieste. Find on Wikipedia. The most famous French comedy about illegitimacy stars Raimu as the well-digger, Fernandel as his assistant, and the lovely Josette Day (the beauty of BEAUTY AND THE BEAST) as the erring daughter. For a more extended discussion, see Pauline Kael's book Hooked. Shows like this, in which the studios showed off their contract players, were a form of institutional advertising that paid for itself. In this situation, courage and caution are almost irrelevant, and ordinary human responses are futile and archaic--yet nothing else is left. For a more extended discussion, see Pauline Kael's book Reeling. Above all it was her personality. The film has some inadvertent humor: the children of this liberal couple are the most highly disciplined little prigs imaginable. PAULINE KAEL: TOP RATED FILMS by eean_dee | created - 15 Jun 2017 | updated - 18 Jun 2017 | Public The infamous film critic Pauline Kael's top rated films as of the time of her demise in 2001. The film was very successful in Canada, where its view of prairie life and of living on American fantasies probably strikes nerves. She has no moral sense and no interests beyond sensuality; when a man is exhausted, she leaves him. The four are a Corsican (Yves Montand), a Frenchman (Charles Vanel), an Italian (Folco Lulli), and a German (Peter Van Eyck), and the film is about their responses to the gruelling test of driving the trucks. The director, Carl Dreyer, based the script on the trial records, and the testimony appears to be given for the first time. To find a movie title, click on a letter. The setting is the New Orleans waterfront; a murder victim is discovered to be carrying plague, and a Public Health doctor (Richard Widmark) and a city detective (Paul Douglas) hunt for everybody who came into contact with him. The professor-hero (Gian Maria Volonté)--a man who has always been an outsider--finds himself involved in a crime in his own Mafia-ridden Sicilian home town, and this familiar region becomes as terrifying and incomprehensible as the desert in a Paul Bowles story. The traffic jam is a prelude to highways littered with burning cars and corpses. Ann Sothern is in the Merman role, supported by Ben Blue, Red Skelton, and Rags Ragland as sailors, as well as by the Berry Brothers, Jackie Horner, Marsha Hunt, Virginia O'Brien, Dan Dailey, Alan Mowbray, and Carl Esmond. Oedipus Rex Canada (1957): Drama 87 min, No rating, Color, Available on videocassette With co-directing help from Irving Lerner, Tyrone Guthrie transcribed his famous production, as it was performed at Stratford (Canada) in 1954 and 1955. The 1940 Broadway musical (which had starred Ethel Merman) underwent the usual Hollywood bowdlerization; the movie still has some energy, but only a couple of the Cole Porter songs remain. Roberto Rossellini made this episodic film after his breakthrough with OPEN CITY the year before. Here are a few films most critics and viewers regard as classics, but which Pauline Kael did not care for. Pabst had selected her to play Lulu in this film, adapted from the Wedekind plays Erdgeist and Die Büchse der Pandora (the same source material that Alban Berg used for his opera Lulu). (The Wedekind material was first filmed in 1919 with Asta Nielsen; the most recent version was probably the 1962 LULU with Nadja Tiller.) There isn't a laugh in its 2 hours. 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