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I Lost It at the Movies: Film Writings, 1954-65

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I Lost It at the Movies: Film Writings, 1954-65 (Paperback)
by Pauline Kael (Author)

(2 customer reviews)

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Product details

Paperback: 250 pages
Publisher: Marion Boyars Publishers Ltd; New Ed edition (1 Jan 1994)
Language English
ISBN-10: 0714529753
ISBN-13: 978-0714529752
Product Dimensions: 21.4 x 13.6 x 2.5 cm

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(2 customer reviews)

Amazon.co.uk Sales Rank: 303,286 in Books (See Bestsellers in Books)

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Product Description

Book Description
A reviewer and critic of films for over thirtyyears until her death in 2001, Pauline Kael isrevered in both the UK and the USA. QuentinTarantino said: "I would study Pauline Kael'sreviews like class assignments." Films coveredinclude Lolita, Jules et Jim, A Taste of Honey,Billy Budd and L'Avventura as well as On theWaterfront and West Side Story. Winner of theAmerican National Book Award for her filmcriticism in 1974, I LOST IT AT THE MOVIESis vintage Kael.

Synopsis
A compilation of film reviews and commentary by film critic Pauline Kael covering her 1954 to 1965 writings. Annotation copyright Book News, Inc. Portland, Or.

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4 of 4 people found the following review helpful:

Classic movie criticism, 18 Sep 2004

By	"lionelgasby" - See all my reviews

Topical but never anachronistic, Ms Kael's essays and reviews place me in an position any true movie lover will appreciate - to have one's views on movies simultaneously energised and challenged. That I have not seen all the movies Pauline Kael writes about hardly seems to matter. If anything my cinematic blind spots allow an even greater appreciation of her skills as a writer. Punchy yet eloquent, Kael's writing is infused with both an irrepressible sense of excitement about movies and an unsurpassed critical insight. In this early volume of her work, Kael exhibits a sense of foreboding about the future of film. This gloomy outlook would eventually subside with the seismic changes brought about by the New Hollywood of the late 60s and 70s. Nevertheless, her concern about the place of movies in popular culture, the vacuity of certain abstract cinematic approaches, and what might be termed 'post modernist' film criticism remain valid to this day. Kael was feared and reviled by studio executives of the 70s for her unprecedented power to make or break a picture. This collection presents a chance to read Kael's writings prior to her subsequent elevation to the status of 'super-critic'. However, the reasons behind her eventual critical stature are abundantly evident throughout.

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