Pauline Kael on “The Godfather”
As The New Yorker’s film critic from 1968 to around 1991, the influential Pauline Kael gave voice to her visceral reactions: she wrote as a moviegoer, not a cineaste. Fifty years ago, in the March 10, 1972, issue, she wrote about a new film by the hot-shot young director Francis Ford Coppola. “If ever there was a great example of how the best popular movies come out of a merger of commerce and art,” Kael wrote, “ ‘The Godfather’ is it.” She noted that Coppola took Mario Puzo’s potboiler of a novel, and the familiar outline of the gangster melodrama, and imbued them with “a new tragic realism,” which reflected a darker view of Americanism in the Watergate era.
Edie Falco performs an excerpted version of Kael’s review.
Some of Pauline Kael’s best work for The New Yorker is collected in “The Age of Movies,” published by the Library of America.
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As The New Yorker’s film critic from 1968 to around 1991, the influential Pauline Kael gave voice to her visceral reactions: she wrote as a moviegoer, not a cineaste. Fifty years ago, in the March 10, 1972, issue, she wrote about a new film by the hot-shot young director Francis Ford Coppola. “If ever there was a great example of how the best popular movies come out of a merger of commerce and art,” Kael wrote, “ ‘The Godfather’ is it.” She noted that Coppola took Mario Puzo’s potboiler of a novel, and the familiar outline of the gangster melodrama, and imbued them with “a new tragic realism,” which reflected a darker view of Americanism in the Watergate era.
Edie Falco performs an excerpted version of Kael’s review.
Some of Pauline Kael’s best work for The New Yorker is collected in “The Age of Movies,” published by the Library of America.
Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
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