Pauline Kael is a very famous film critic in the United States, and is widely recognized as the most influential media film critic in the second half of the 20th century. She is characterized by being witty, sharp, to the point and opinionated. She wrote for the New Yorker from 1967 to 1991. Her film criticism writing influenced many subsequent important film critics, such as Armond White and Roger Ebert.

Kyle worked for women's magazine McCall's before being fired for writing a negative review of the movie "The Sound of Music" (Kyle called it "the sound of money") . She also thought Paint Your Wagon was equally bad. In contrast, she considers the film version of the musical "Fiddler on the Roof" and especially "Cabaret" to be two of the greatest film musicals of all time. Kael worked at The New Yorker from 1967 to 1991, where the magazine gave her relatively generous space (and seemingly minimal editorial interference) while establishing her as a first-rate critic. . She herself believes that it was interesting to write film reviews during this period because the films at that time had great shocking power.

In 1970, Kael received the George Polk Award for his outstanding critical work at The New Yorker.

Kyle's first published collection of film criticism, Losing Your Virginity at the Movies (1965), quickly became a bestseller and sparked a series of (deliberately) suggestive titles. Publication of hardcover anthologies with titles such as Kiss Kiss Bang Bang, When the Lights Go Down, and Taking It All In etc. Her fourth collection, Deeper Into Movies (1973), was the first nonfiction about film to win the National Book Award. "5001 Nights at the Movies" published in 1982 contains synopses of movie stories that she had previously published anonymously in the "Top of the Town" column of The New Yorker.

Kyle has also written philosophical essays about theater viewing, the modern Hollywood film industry, and how audiences (in her view) lack the courage to explore less well-known and more challenging movie question. (Kyle likes to use movies to refer to movies rather than films, which she feels is too elitist.)

Among her popular articles, she includes an analysis of the American writer Norman May Mailer's damning review of his semi-fictional biography of Marilyn Monroe was extremely critical of both Mailer and her book. The other is an in-depth account of Cary Grant’s career. There is also a very detailed article on "Citizen Kane" titled "Raising Kane" (this book was later reprinted as "The Citizen Kane Handbook").

Kyle believes that screenwriter Herman J. Mankiewicz should enjoy as much credit as director Orson Welles for the achievements of "Citizen Kane." This assertion angered Welles's supporter Peter Bogdanovich and others. (No citation here). Since then, some historical information in the book has been denied by many subsequent scholars, such as Bogdanovich, Jonathan Rosenbaum, James Narmore, etc.

Pauline Kael once shocked critics with her controversial article "Square and Circle" published in Film Quarterly in 1963. The article attacked auteurist critics who tried to elevate Hollywood's unpopular films into serious works of art. In the mid-1960s, she was a freelance writer writing articles for McCall's, New York Times, Picture and Sound, and Time magazines. From 1968 until her retirement in 1991, she wrote film reviews for The New Yorker magazine. In her heyday, Kael was undoubtedly the most influential and formidable voice in American criticism. She won a Guggenheim Fellowship, and her fourth book, "Inside the Film," was the first film book to win the National Book Award, where she was recognized for her power to make or break a film. people.

Kyle never allows her readers to remain neutral, and she makes ordinary readers, directors, producers, and other film critics either love or hate them. Her comments are tendentious and sometimes outrageous, but never dull. You may think her comments are crazy, but her probing, unique, and completely original comments are still worth savoring. Her colloquial yet poignant prose style is always approachable and enjoyable, the work of a gifted author who appreciates the art of commentary. Kyle was often as concerned with the dark side of her writing, witty puns, and inventive use of idioms as she was with the point of view expressed in her writing.

Disdainful of theory, Kevin eschews abstract and objective criticism and instead creates strong subjective reflections on a film's interpretation, performance, sociological significance, and directorial style. She admires dynamic films and directors who do not indulge in petty sentimentality, such as Peckinpah, Scorsese and De Palma, directors who are considered to be overexerting themselves, while she accepts more contemplative directors such as Cartier-Bresson. I feel less comfortable when I want to work with a serious director. But she expressed nothing but disdain for Hollywood blockbusters like The Sound of Music (which she called The Sound of Money), as well as for liberal, middle-of-the-road movies like Homecoming, as well as films that "like to use other people's "Playing with God" studio people, she would destroy anything she despised.

At the same time, she likes popular entertainment because it provides fun. Unlike many other critics, she never pretentiously detects hidden meanings in bad work, nor does she exaggerate a film like Pretty Woman by comparing it to a play by Shakespeare or George Bernard Shaw. importance. No one would say Kael's commentary is graphic or urban. She's always unpredictable and has a gift for nailing the essence of a film.

Pauline's straightforwardness is vividly reflected in her ruthless criticism of the works of famous directors, such as the great director Woody Allen's 1980 transformation film "Once Upon a Time in Stardust", which imitated Fellini's "Eight and a Half" (8 1/2) tells the story of a comedy director who is stuck in a bottleneck and is tired of making comedies to please the audience. Pauline criticized him mercilessly: "If Woody Allen finds success very upsetting and wishes the public would go away, this picture should help him stop worrying", the poignant words are merciless, and it is completely unexpected that another female film critic, Judith Crist, liked the film very much and even played a cameo role in the film.