Pauline Kael - Going Mass Market

Going Mass Market

Kael continued to juggle writing with other work until she received an offer to publish a book of her criticism. Published in 1965 as I Lost It at the Movies, the collection sold 150,000 paperback copies and was a surprise bestseller. Coinciding with a job at the high-circulation women's magazine McCall's, Kael (as Newsweek put it in a 1966 profile) "went mass".

During the same year, she wrote a blistering review of the phenomenally popular The Sound of Music in McCall's. After mentioning that some of the press had dubbed it "The Sound of Money," Kael called the film's message a "sugarcoated lie that people seem to want to eat." Although, according to legend, this review led to her being fired from McCall's (The New York Times printed as much in Kael's obituary), both Kael and the magazine's editor, Robert Stein, denied this. According to Stein, "I months later after she kept panning every commercial movie from Lawrence of Arabia and Dr. Zhivago to The Pawnbroker and A Hard Day's Night."

Her dismissal from McCall's led to a stint from 1966 to 1967 at The New Republic, whose editors continually altered Kael's writing without permission. In October 1967, Kael wrote a lengthy essay on Bonnie and Clyde, which the magazine declined to publish. William Shawn of The New Yorker obtained the piece and ran it in the New Yorker issue of October 21. Kael's review raved about the then controversial film Bonnie and Clyde. According to critic David Thomson, "she was right about a film that had bewildered many other critics." A few months after the essay ran, Kael quit the Republic "in despair." Kael was asked by Shawn to join The New Yorker staff as one of its two film critics (she alternated every six months with Penelope Gilliatt until 1979, after which she became sole film critic),

Initially, many considered her colloquial, brash writing style an odd fit with the sophisticated and genteel New Yorker. Kael remembered "getting a letter from an eminent New Yorker writer suggesting that I was trampling through the pages of the magazine with cowboy boots covered with dung." During her tenure at the New Yorker, however, she took advantage of a forum that permitted her to write at length and with presumably minimal editorial interference; and Kael achieved her greatest prominence. By 1968, Time magazine was referring to her as "one of the country's top movie critics." Kael noted that, during this period, her reviews were so interesting because the films were so compelling.