This was written in December 2008, after Dana Linssen, the editor-in-chief of the independent Dutch film monthly de Filmkrant, sent out a request early that month for contributions to what she called a “Slow Criticism” dossier, to appear in their special English-language newspaper at the Rotterdam International Film Festival in late January. I revived it in 2011 as my own contribution to the avalanche of journalism that had been appearing about Pauline Kael, capped by Frank Rich’s lengthy piece in the New York Times; it’s also included in my most recent collection, Goodbye Cinema, Hello Cinephilia, where it concludes the book’s penultimate section, “Films,” just before its final section, “Criticism”. There isn’t a piece about Kael in the final section, but this broadside helps to explain why.
One aspect of recent journalism about Kael that seems to confirm the provinciality of American film criticism in general is the tacit assumption that “the world of film” in the U.S. is somehow (and automatically) coterminous and equivalent to global film culture — unless the assumption is simply that global film culture is too esoteric and inconsequential a subject to be worthy of discussion in the U.S. But it’s worth stressing that outside the English-speaking world, Kael’s critical status was and is pretty limited. Read more