What She Said: The Art of Pauline Kael – first… | Little White Lies

Festivals

What She Said: The Art of Pauline Kael – first look review

14 Feb 2019

Words by Ella Kemp

Monochrome image showing a group of people sitting around a table in a dimly lit restaurant or bar setting. Several figures can be seen, including a woman smoking and a man writing.
Monochrome image showing a group of people sitting around a table in a dimly lit restaurant or bar setting. Several figures can be seen, including a woman smoking and a man writing.
This por­trait of the work of film crit­ic Pauline Kael is a per­fect reminder of why movies matter.

It seems sur­pris­ing to wit­ness a packed-out screen­ing of a doc­u­men­tary about a film crit­ic, but there’s some­thing uni­ver­sal about the fas­ci­na­tion, both admir­ing and begrudg­ing, that sur­rounds the cult of Pauline Kael. The crit­ic who famous­ly hat­ed 2001: A Space Odyssey and evis­cer­at­ed Blade Run­ner is scru­ti­nised through her work, inex­tri­ca­bly linked to her all-con­sum­ing emo­tions, in What She Said: The Art of Pauline Kael.

The premise might seem self-serv­ing, but when you’re talk­ing about Kael, you’re talk­ing about more than film crit­i­cism as a dis­tant con­cept, more than movies as an exclu­sion­ary or vul­gar art form. What She Said offers a fea­ture-length look at the aston­ish­ing influ­ence Kael had on the world, as much in her own words as through those who knew her.

To know Kael isn’t nec­es­sar­i­ly to have dealt with her per­son­al­ly – direc­tor Rob Garv­er has no con­nec­tion to the woman he spent four years research­ing for his first fea­ture. He cre­ates an impres­sive, exhaus­tive patch­work of her art, which chron­i­cles her life but most­ly focus­es on her writing.

It’s retold through a charis­mat­ic, earthy voiceover (Garver’s cast­ing skills found unex­pect­ed tri­umph by choos­ing Sarah Jes­si­ca Park­er to play’ Pauline) and through reac­tions to her reac­tions: from fel­low crit­ics, indus­try exec­u­tives, film­mak­ers who were both adored and reviled by Kael, and from a par­tic­u­lar­ly insight­ful inter­view from her daugh­ter, Gina.

By invit­ing such a wide mix of peo­ple to share their rela­tion­ship with her words, What She Said paints a vivid pic­ture of the land­scape Kael savoured and shaped. As in her reviews, the doc­u­men­tary treats the movies them­selves with great dig­ni­ty: every word spo­ken is illus­trat­ed; the mag­ic of her review of Bon­nie and Clyde is fur­ther crys­tallised with images from the scene she was writ­ing about so sharply; the bril­liance of Kael’s take­down of Hitch­cock is enhanced by the mon­tage of his many, many stran­gu­la­tion scenes.

The only words that are silent in the film are Garver’s. He sign­posts touch­stone moments of Kael’s life with the earnest­ness of an Apple advert, con­vinc­ing the entire world to care about an ide­ol­o­gy that seem­ing­ly has no rela­tion or ben­e­fit for the con­sumer – but that speaks for itself. This is a rich­ly com­pelling work, one that makes you yearn to watch more films and to under­stand why we need them.

You don’t have to like Pauline Kael. You don’t have to like this crit­ic. But What She Said offers a reminder as to why, 100 years on from her birth, there’s nev­er been a bet­ter time to relight the fire that burned far too bright to ignore.

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