Search Details

Word: kauffmanns (lookup in dictionary) (lookup stats)
Dates: all
Sort By: most recent first (reverse)


Usage:

This alone, of course, cannot explain the great bitterness Kauffmann implied. There are many other reasons why Huston has been the target of decisive vitriol...

Author: By Michael Sragow, | Title: Books Saints and Sycophants | 1/21/1971 | See Source »

When Fellini Satyricon was reviewed, Kauffmann found the film to be a botched work of art; but he spoke of its failure in terms of Fellini's wish to depart from the autobiographical veins which he had replenished in the course of his career. The emotion expressed by Kauffmann was sympathy, only faintly supercilious...

Author: By Michael Sragow, | Title: Books Saints and Sycophants | 1/21/1971 | See Source »

WHEN Myra Breckinridge premiered last July. Stanley Kauffmann wrote that John Huston's performance in such tripe was what he had come to expect from the once-deified director; that whenever he went to see a film which Huston either acted in or directed, he couldn't help thinking of how much the late James Agee had admired him. Kauffmann thought the wrong man died...

Author: By Michael Sragow, | Title: Books Saints and Sycophants | 1/21/1971 | See Source »

...most distressing historical accomplishment of Sarris's rise to fame has been his ability to turn avowed cultism into a major dynamic in a film world previously unsullied by grotesque consumer fetishism. With Kauffmann writing for the New Republic, Dwight MacDonald for Esquire, and Robert Hatch for the Nation, film scholarship was not in the "shambles by the early sixties" that Sarris claims. And despite the spiritual association Sarris (and nearly every other film critic) attempts to make with James Agee, he is far removed from that critic's quality. Though Sarris, while writing for Film Culture, the Village Voice...

Author: By Michael Sragow, | Title: Auto-Eroticism Confessions of a Cultist | 12/12/1970 | See Source »

MOVIES OR BOOKS about youth culture (and a host of other things, for that matter, like politics and social reality) can often be fairly judged by the critics they keep. When Stanley Kauffmann seizes on The Graduate as one of the most significant films ever made, you know something is amiss. Similarly when the press does chorus kicks for James Simon Kunen. Or when Pauline Kael hails Wild in the Streets. Scorecards of who likes what are less important when dealing with art works with little contemporary social content. Time thinks Persona is a masterpiece, but doesn't know...

Author: By Joel Haycock, | Title: Easy Rider | 8/12/1969 | See Source »

Previous | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | Next