Pauline Kael’s "Notes on Heart and Mind": A Critical Retrospective
When cinephiles reflect on the golden age of film criticism, Pauline Kael‘s name undoubtedly shines at the forefront. Her tenure at The New Yorker, which began in January 1968, coincided with a period of radical transformation in cinema. It was an era marked by a rebellion against traditional storytelling, a trend Kael championed in her earliest reviews. However, by January 1971, after several lackluster weeks of cinematic releases, she penned a groundbreaking piece titled “Notes on Heart and Mind” that not only crystallized her discontent but also laid bare her complex relationship with the evolving film industry.
The Shifting Landscape of Cinema
The film industry of the late 1960s was rife with change. A year prior, the controversial release of “Bonnie and Clyde” had ignited debates about youth, violence, and the very essence of American cinema. Far from the condemning critiques of many contemporaries, Kael celebrated this film as a harbinger of Hollywood’s revival. Yet, three years down the line, she sensed a troubling regression—a sentiment she articulated with fervor in "Notes on Heart and Mind," where her observations morphed into a manifesto for serious critics and filmmakers alike.
A Call to Action Against Sentimentality
In her captivating essay, Kael charged that major studios were stifling creativity by promoting what she termed "the new sentimentality." This trend smothered the artistic freedom of ambitious young filmmakers, reverting cinema to outdated, commercial norms. She lamented, "the back-to-heart movement is accompanied by strong pressures on reviewers," suggesting a troubling complicity between editors and film executives that aimed to dilute honest criticism.
Her protests were not merely theoretical; they stemmed from her personal experiences as a critic. Kael revealed that studios were increasingly withholding access to press screenings, aiming to prevent critical voices—especially hers—from influencing audiences before a film’s release. This was a direct affront not only to her authority as a critic but also to the integrity of film journalism itself.
Ageism and Artistic Vision
In an industry obsessed with demographics, Kael critiqued the notion that critics must align closely in age with the average moviegoer. At the time of her hiring at The New Yorker, Kael was 48—remarkably older than most critics and audiences. This disparity, she argued, provided her a unique perspective. In "Notes," she fervently defended the necessity for critics’ wisdom and experience, stating, “If a few critics don’t go all the way for them, the public doesn’t hear about them in time to keep the directors working and to keep the art of film alive.” Her conviction shone brightly as she urged her peers to give thoughtful consideration to the emerging filmmakers of her generation.
The Complexity of Cinema’s Evolution
Despite her disdain for what she perceived as youthful superficiality, Kael’s essay is layered with conviction and understanding. While she acknowledged the allure of new cinematic forms and the incandescent creativity of young directors like Martin Scorsese and Brian De Palma, she also condemned their “Pop” sensibility, which she believed eclipsed the rich intellectual traditions inherent in literature and drama. Reflecting on her formative years, she said, “Movies are good at action; they’re not good at reflective thought or conceptual thinking.” However, this assertion often contradicted the reality that many young filmmakers were pushing the boundaries of narrative and aesthetic through innovative storytelling.
Legacy of “Notes on Heart and Mind”
Kael’s “Notes on Heart and Mind” serves as a powerful critique of the film industry and a manifesto for its future. While she often conflicted with the very evolution she sought to celebrate, her insights provided an invaluable lens through which to examine the intricate dynamics between art and commerce. As the New Hollywood era began to unfold, her resistance to certain cinematic trends illuminated her criticisms. Yet, the brilliance of her voice remains a cornerstone of film criticism, providing both inspiration and caution for those navigating the complex world of cinema.
For a deeper exploration of Kael’s thoughts, you can read the full text of “Notes on Heart and Mind” here.
Conclusion: The Enduring Impact of a Film Critic
Pauline Kael’s contributions to film criticism continue to resonate, reminding us of the importance of vigorous discourse in the arts. The struggle between heartfelt storytelling and traditional norms persists, but Kael’s wisdom encourages critics and filmmakers alike to forge ahead with passion and integrity. As we reflect on her legacy, let us celebrate her fierce advocacy for cinema as an evolving art form that deserves deep and meaningful discourse.
