Criticism > Contemporary Literary Criticism > Lucas, George - Pauline Kael

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PAULINE KAEL

Using women (and not only women) as plot functions may be a clue to the shallowness of many movies, even of much better movies—American Graffiti, for example. The audience at American Graffiti appears to be ecstatically happy condescending toward its own past—how cute we were at seventeen, how funny, how lost—but for women the end of the picture is a cold slap. Set in 1962, American Graffiti compresses into one night the events from high school graduation to the opening of college in the fall. At the close, it jumps to the present and wraps up the fates of the four principal male characters—as if lives were set ten years after high school!—and it ignores the women characters. This is one of those bizarre omissions that tell you what really goes on in men filmmakers' heads and what women—who are now, for the first time in movie history, half the moviegoing audience—bitterly (or unconsciously) swallow. (p. 193)

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1. Introduction
2. Stanley Kauffmann
3. Stanley Kauffmann
4. Michael Dempsey
5. Pauline Kael
6. ALICE SODOWSKY, ROLAND SODOWSKY, and STEPHEN WITTE
7. Stanley Kauffmann
8. Richard A. Blake
9. Robert Hatch
10. Robert G. Collins
11. Arthur Lubow
12. Terry Curtis Fox
13. Pauline Kael
14. MICHAEL PYE and LYNDA MYLES
15. Copyright