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Bezig met laden... Reeling (origineel 1976; editie 1977)door Pauline Kael (Auteur)
Informatie over het werkReeling door Pauline Kael (1976)
   Bezig met laden...
 Meld je aan bij LibraryThing om erachter te komen of je dit boek goed zult vinden. Op dit moment geen Discussie gesprekken over dit boek.  araridan | May 2, 2008 | 
 It offers a critic who can write; who has a vast and visceral knowledge not only of movies but of books, music, history and politics; who combines a desire to understand the constant shifts in fads, fashions and social beliefs with remarkable sensitivity to questions of value; who has a sense of humor; and who has a shit detector that is beyond belief. Kael is also our most valuable critic of cheap, fraudulent nihilism in popular culture. (She proved long ago that she knew, and respected, the real thing for what it is, with her reviews of Forbidden Games and Fires on the Plain.) Kael is perhaps more effective in this role in Reeling than before, probably because she thinks such attitudes are more dangerous, and audiences more vulnerable to them, than in other times. She is unsparing with movies that exploit the public cynicism created by Vietnam and Watergate, and devastating when she confronts the sadism and brutality that have, along with facile cynicism, become so fashionable.  “Reeling” ultimately grinds you down. It is always an entertaining book, and piece by piece a brilliant one, but taking it in large doses, you may get frazzled by all the feverish energy, flashing like St. Elmo’s fire, around so many ephemeral works. Perhaps because the movies are a sensual medium, they are more likely to provoke hot opinionated responses than cool, disinterested ideas, and without sufficient intellectual substance, the continual play of even such a fine sensibility around an impure object eventually gets tiresome. At the heart of these reviews, smack in the middle, is her ambitious retrospective-cum-prescription, ""On the Future of Movies."" The theme is that Hollywood's artists are being systematically subverted by the businessmen who now more than ever control the industry--a theme that is hammered home again and again in the reviews. For the last few years, our screen fantasies have been dominated by Eastwood-style super-violence and mindless blockbusters like Papillon, The Exorcist, Airport 1975, Earthquake, The Towering Inferno. Kael's controversial raves of Last Tango in Paris, Godfather II, and Nashville point up some exceptions, but more often, she says, the fine little movies slipped by the public despite her passionately partisan recommendations. Her reviews are emphatic and knowledgeable--she's seen everything--even if her opinions tumble out in such a helter-skelter fashion that her syntax is dizzying. Onderdeel van de reeks(en)
A fiddler who went into seclusion after his wife's death agrees to play at a wedding. When he finds that only sacks of grain are around to listen, he goes in search of company. Geen bibliotheekbeschrijvingen gevonden. |
Actuele discussiesGeenPopulaire omslagen
 Google Books — Bezig met laden...GenresDewey Decimale Classificatie (DDC)791.43The arts Recreational and performing arts Public performances Film, Radio, and Television FilmLC-classificatieWaarderingGemiddelde: (3.54)
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I wasn't expecting too much out of a book like this, and overall it is an entertaining read if one jumps around and picks out the movies that are familiar or that one has been wanting to watch anyway...it's also fun to read about some movies that I have never even heard of before. Mrs. Kael made me want to watch a lot more Altman films than I had already planned on, however, she talked some shit about "Closely Watched Trains" (and other Czech New Wave) and Nathanael West, so for that, she gets knocked down a notch. (