Jews From The United States

"The craftsmanship that Hollywood has always used as a selling point not only doesn’t have much to do with art — the expressive use of techniques — it probably doesn’t have very much to do with actual box-office appeal, either."

"People who are just getting "seriously interested" in film always ask a critic, "Why don’t you talk about technique and 'the visuals' more?" The answer is that American movie technique is generally more like technology and it usually isn’t very interesting."

"Movies make hash of the schoolmarm’s approach of how well the artist fulfilled his intentions. Whatever the original intention of the writers and director, it is usually supplanted, as the production gets under way, by the intention to make money — and the industry judges the film by how well it fulfills that intention. But if you could see the "artist’s intentions" you’d probably wish you couldn’t anyway. Nothing is so deathly to enjoyment as the relentless march of a movie to fulfill its obvious purpose. This is, indeed, almost a defining characteristic of the hack director, as distinguished from an artist."

"Audiences who have been forced to wade through the thick middle-class padding of more expensively made movies to get to the action enjoy the nose-thumbing at "good taste" of cheap movies that stick to the raw materials. At some basic level they like the pictures to be cheaply done, they enjoy the crudeness; it’s a breather, a vacation from proper behavior and good taste and required responses. Patrons of burlesque applaud politely for the graceful erotic dancer but go wild for the lewd lummox who bangs her big hips around. That’s what they go to burlesque for."

"Alienation is the most common state of the knowledgeable movie audience, and though it has the peculiar rewards of low connoisseurship, a miser’s delight in small favors, we long to be surprised out of it — not to suspension of disbelief nor to a Brechtian kind of alienation, but to pleasure, something a man can call good without self-disgust."

"The past has a terror and fascination and a beauty beyond almost anything else. We are looking at the dead, and they move and grin and wave at us; it's an almost unbearable experience. When our wonder or our grief are interrupted or followed by a commercial, we want to destroy the ugly box. Old movies don't tear us apart like that. They do something else, which we can take more of and take more easily; they give us a sense of the passage of life. Here is Elizabeth Taylor as a plump matron and here, an hour later, as an exquisite child."

"Watching old movies is like spending an evening with those people next door. They bore us, and we wouldn't go out of our way to see them; we drop in on them because they're so close. If it took some effort to see old movies, we might try to find out which were the good ones, and if people saw only the good ones maybe they would still respect old movies. As it is, people sit and watch movies that audiences walked out on thirty years ago. Like Lot's wife, we are tempted to take another look, attracted not by evil but by something that seems much more shameful — our own innocence."

"The words "Kiss Kiss Bang Bang," which I saw on an Italian movie poster, are perhaps the briefest statement imaginable of the basic appeal of movies. This appeal is what attracts us, and ultimately what makes us despair when we begin to understand how seldom movies are more than this."

"After one of those terrible lovers' quarrels that leave one in a state of incomprehensible despair. I came out of the theater, tears streaming, and overheard the petulant voice of a college girl complaining to her boyfriend, "Well I don't see what was so special about that movie." I walked up the street, crying blindly, no longer certain whether my tears were for the tragedy on the screen, the hopelessness I felt for myself, or the alienation I felt from those who could not experience the radiance of Shoeshine. For if people cannot feel Shoeshine, what can they feel?... Later I learned that the man with whom I had quarreled had gone the same night and had also emerged in tears. Yet our tears for each other, and for Shoeshine did not bring us together. Life, as Shoeshine demonstrates, is too complex for facile endings."

"I loved writing about things when I was excited about them. It's not fun writing about bad movies. I used to think it was bad for my skin. It's painful writing about the bad things in an art form, particularly when young kids are going to be enthusiastic about those things, because they haven't seen anything better, or anything different."

"Before seeing Truffaut's Small Change, I was afraid it was going to be one of those simple, natural films about childhood which I generally try to avoid — I'm just not good enough to go to them. But this series of sketches on the general theme of the resilience of children turns out to be that rarity — a poetic comedy that's really funny."

"A woman who taught at Berkeley dropped in on me once and saw a book burning in the fireplace. She pointed at it in terror, and I explained that it was a crummy ghostwritten life of a movie star and that it was an act of sanitation to burn it rather than sending it out into the world which was already clogged with too many copies of it. But she said, "You shouldn’t burn books" and began to cry."

"In the arts, the critic is the only independent source of information. The rest is advertising."

"I live in a rather special world. I only know one person who voted for Nixon. Where they are I don't know. They're outside my ken. But sometimes when I'm in a theater I can feel them."

"October 14, 1972: that date should become a landmark in movie history comparable to May 29, 1913 — the night Le Sacre du Printemps was first performed — in music history. There was no riot, and no one threw anything at the screen, but I think it’s fair to say that the audience was in a state of shock, because Last Tango in Paris has the same kind of hypnotic excitement as the Sacre, the same primitive force, and the same thrusting, jabbing eroticism. [...] Bertolucci and Brando have altered the face of an art form. Who was prepared for that?"

"Citizen Kane is perhaps the one American talking picture that seems as fresh now as the day it opened. It may seem even fresher."

"A mistake in judgment isn't fatal, but too much anxiety about judgment is."

"I regard criticism as an art, and if in this country and in this age it is practiced with honesty, it is no more remunerative than the work of an avant-garde film artist. My dear anonymous letter writers, if you think it is so easy to be a critic, so difficult to be a poet or a painter or film experimenter, may I suggest you try both? You may discover why there are so few critics, so many poets."

"Regrettably, one of the surest signs of the Philistine is his reverence for the superior tastes of those who put him down."

"I am mystified. I know only one person who voted for Nixon."

"I see little of more importance to the future of our country and of civilization than full recognition of the place of the artist. If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him."

"For some strange reason we don't go to charming, light movies anymore. People expect a movie to be heavy and turgid, like "American Beauty." We've become a heavy-handed society."

"I still don't look at movies twice. It's funny, I just feel I got it the first time. With music it's different. People respond so differently to the whole issue of seeing a movie many times. I'm astonished when I talk to really good critics, who know their stuff and will see a film eight or ten or twelve times. I don't see how they can do it without hating the movie. I would."

"It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack."

"Moviemaking is so male-dominated now that they think they’re being pro-feminine when they have women punching each other out."

"Earlier generations went to see what was forbidden in life and developed a real excitement about the movies. Today’s rating system keeps kids out of the good ones. I wouldn’t want them to see movies like Natural Born Killers, but my tendency is you’re better off seeing things than not. That glazed indifference kids develop can be worse than over-excitement."

"Goodman: Imitation is the sincerest form of flattery. Kael: I hate it. It is very creepy being imitated."

"If you can't make fun of bad movies on serious subjects, what's the point?"

"This is a nature-boy movie, a kid's daydream of being an Indian. When Dunbar has become a Sioux named Dances with Wolves, he writes in his journal that he knows for the first time who he really is. Costner has feathers in his hair and feathers in his head."

"Moviegoers like to believe that those they have made stars are great actors. People used to say that Gary Cooper was a fine actor — probably because when they looked in his face they were ready to give him their power of attorney."

"It's as if Brian de Palma were saying, "What is getting older if it isn't learning more ways that you're vulnerable?""

"If there is any test that can be applied to movies, it's that the good ones never make you feel virtuous."

"Is there something in druggy subjects that encourages directors to make imitation film noir? Film noir itself becomes an addiction."

"What's disgusting about the Dirty Harry movies is that Eastwood plays this angry tension as righteous indignation."

"This is not about classic left-vs-right anymore. (As if that metaphor ever held cogent meaning.) Not when every measure of national health that conservatives ought to care about — from budget balancing to small business startups, to military readiness, to States' Rights, to the economy, to individual liberty, to control over immigration at our borders — does vastly and demonstrably better under democrats. With nearly 100% perfection. (Fact avoidance is even worse when you encompass ALL of history. Ask today's conservatives which force destroyed more freedom and nearly every competitive market, across 5,000 years. Which foe of liberty and enterprise did Adam Smith despise? Hint: it wasn't "socialism" or "government bureaucrats.") No. Given their lack of any other tangible accomplishments across the last fifteen years, one must to conclude that the core agenda of Rush Limbaugh, Rupert Murdoch and their petroprince backers really is quite simple. To find out just how far they can push "culture war" toward a repeat of 1861."

"There was one exception to the rule that all our foes have committed the Decadence Assumption. Ho Chi Minh never underestimated America. His avowed hero was George Washington and he remained in awe of the U.S., all his life. He remains the only enemy leader who ever defeated us at war, and then only because our hubris (not decadence) got the better of us."

"The Union will awaken. It always has. We always will."

"Step back for a minute and note an important piece of psychohistory — that every generation of Americans faced adversaries who called us "decadent cowards and pleasure-seeking sybarites (wimps), devoid of any of the virtues of manhood." Elsewhere, I mark out this pattern, showing how every hostile nation, leader or meme had to invest in this story, for a simple reason. Because Americans were clearly happier, richer, smarter, more successful and far more free than anyone else. Hence, either those darned Yanks must know a better way of living (unthinkable!)... or else they must have traded something for all those surface satisfactions. Something precious. Like their cojones. Or their souls. A devil's bargain. And hence — (our adversaries told themselves) — those pathetic American will fold up, like pansies, as soon as you give them a good push. It is the one uniform trait shown by every* vicious, obstinate and troglodytic enemy of the American Experiment. A wish fantasy that convinced Hitler and Stalin and the others that urbanized, comfortable New Yorkers and Californians and all the rest cannot possibly have any guts, not like real men. A delusion shared by the King George, the plantation-owners, the Nazis, Soviets and so on, down to Saddam and Osama bin Laden. A delusion that our ancestors disproved time and again, decisively — though not without a lot of pain."

"I've long felt that the best minds of the right had useful things to contribute to a national conversation — even if their overall habit of resistance to change proved wrongheaded, more often than right. At least, some of them had the beneficial knack of targeting and criticizing the worst liberal mistakes, and often forcing needful re-drafting. That is, some did, way back in when decent republicans and democrats shared one aim — to negotiate better solutions for the republic. Alas, today's Republican Establishment seems not only incapable but uninterested in negotiation or deliberation. It isn't just the dogmatism, or lockstep partisanship, or Koolaid fantasies spun-up by the Murdoch-Limbaugh hate machine. Heck, even though "culture war" is verifiably the worst direct treason against the United States of America since Fort Sumter, that isn't what boggles most. It's the stupidity. The vast and nearly uniform dumbitudinousness of ignoring what has happened to conservatism, a transformation of nearly all of the salient traits of Barry Goldwater from:"

"Every marvel of our age arose out of the critical give and take of an open society. No other civilization ever managed to incorporate this crucial innovation, weaving it into daily life. And if you disagree with this ... say so!"

"I maintain contacts with researchers in dozens of fields, both for fun and to keep up. In fact, any well-read citizen can stay reasonably current nowadays, by reading any of the popular science magazines that describe remarkable advances every week, in terms non-specialists can understand. The advance of human knowledge has become — at long last — a vividly enjoyable spectator sport! And a growing movement toward amateur science shows there is room for participants at every level."

"Change is the principal feature of our age and literature should explore how people deal with it. The best science fiction does that, head-on."

"I like to be surprised. Fresh implications and plot twists erupt as a story unfolds. Characters develop backgrounds, adding depth and feeling. Writing feels like exploring."

"We already live a very long time for mammals, getting three times as many heartbeats as a mouse or elephant. It never seems enough though, does it? Most fictional portrayals of life-extension simply tack more years on the end, in series. But that's a rather silly version. The future doesn't need a bunch of conservative old baby-boomers, hoarding money and getting in the grand-kids' way. What we really need is more life in parallel — some way to do all the things we want done. Picture splitting into three or four "selves" each morning, then reconverging into the same continuous person at the end of the day. What a wish fulfilment, to head off in several directions at once!"

"Ah well. Heaven is a state of mind. I knew that now."

"Did you arrogantly expect that the entire universe was waiting upon man to arrive?"

"My old friend Pal had a philosophy: “When you lack understanding, or subtlety, you can still get your argument across with a monkey wrench.”"

"Yet where were answers to the truly deep questions? Religion promised those, though always in vague terms, while retreating from one line in the sand to the next. Don’t look past this boundary, they told Galileo, then Hutton, Darwin, Von Neumann, and Crick, always retreating with great dignity before the latest scientific advance, then drawing the next holy perimeter at the shadowy rim of knowledge."

"It’s hard to feel completely hopeless during that special moment when you first catch sight of dawn."

"Evolution doesn’t happen without pain or loss. A lot of fish died, in order for a few to stand. The price may be worthwhile…"