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Product Description
Product Description
Kiss Kiss Bang Bang is virtually an informal history of the movies. This volume deals with over 300 of them, some essay length, some in short sharp paragraphs. From Bonnie and Clyde to Blow Up, Miss Kael praises, damns and displays her extraordinary grasp of films, film-makers, techniques and film history.
--This text refers to the
Paperback
edition.
About the Author
Winner of the American National Book Award for her film criticism in 1974, Pauline Kael was, until her retirement in 1974, a reviewer and critic of films and filming for over thirty years. Other titles by Pauline Kael available from Marion Boyars are: I Lost It At the Movies, Going Steady, Kiss Kiss Bang Bang, Reeling, When The Lights Go Down, Taking It All In, State of the Art, Hooked, Movie Love, Raising Kane and Other Essays and 5001 Nights at the Movies.
--This text refers to the
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Customer Reviews
Most Helpful Customer Reviews
1 of 2 people found the following review helpful
Format:Hardcover
Anyone who has ever read the work of Pauline Kael will know what a true talent she was. As a film student, I found kiss, kiss, bang, bang one of the best. it's title since has become synonamous with Bond films from the 60's and that era in general. This writer was a true film lover and it shows through her work, if your a fan of 60's style films, then you must read this book. It creates a glowing explination of the era and its inspirations.
Most Helpful Customer Reviews on Amazon.com (beta)
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2 reviews
5 of 6 people found the following review helpful
Great insight, but watch out!
22 April 2006
Format:Hardcover
As one would expect from "The world's most incisive film critic" these reviews express strong opinions and incorporate invaluable insider information. Kael's passion inspires some hilarious jabs, but she comes off mean-spirited at times.
All things considered, we benefit from the intellectual rigor she brings to film criticism; but one has to be careful when reading Kael: just because the critique is intelligent doesn't mean she succeeds in supporting all her opinions with the same level of intellectual rigor. Her authoritative tone can sound bullying when it's used to support a subjective judgment, and aesthetics is notoriously subjective.
All things considered, we benefit from the intellectual rigor she brings to film criticism; but one has to be careful when reading Kael: just because the critique is intelligent doesn't mean she succeeds in supporting all her opinions with the same level of intellectual rigor. Her authoritative tone can sound bullying when it's used to support a subjective judgment, and aesthetics is notoriously subjective.
13 of 19 people found the following review helpful
briefest statement imaginable for the basic appeal of movies
2 Feb 2001
Format:Paperback
This is Pauline Kael's second book of film reviews, covering 1965- 1967, when she was freelancing and yet to be attached to The New Yorker magazine. It also includes notes on 280 movies capsule reviews which predates her later 5001 Notes at the Movies companion. On the title of the book, Kael says she it on an Italian poster and is perhaps the briefest statement imaginable of the basic appeal of movies. "This appeal is what attracts us, and ultimately what makes us despair when we begin to understand how seldom movies are more than this". In this volume her raves include a 17 page study of Bonnie and Clyde, Persona, Falstaff, Band of Outsiders, Masculine Feminine, Laurence Olivier as Othello, and Boudou Saved from Drowning though made in France in 1931 was only released in the United States in 1967. Her pans Blow-Up, Madame X, Hawaii, Darling, Ship of Fools, and her infamous review of The Sound of Music which lost her a job. She also includes essays on The Creative Business, Godard and the Movie Brutalists, an exhaustive The Making of The Group covering 33 pages, suggested movies for children, and studies of the careers of Brando, Orson Welles and Stanley Kramer. A few amusing quotes. After the first few minutes of Grand Prix, my companion said Now you know what it's like to be run over. You don't go to this movie, it comes after you. Pasolini's The Gospel According to st Matthew was so static that I could hardly wait for that loathsome prissy young man to get crucified. In The Bible God couldn't have had much much of a sense of humour if he went to the trouble of destroying the posing prancing faggots of Sodom. And, the process shots in Fantastic Voyage are so clumsliy mated with the figures that the actors look as if a child has cut them out with blunt scissors.
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