By Ron Rosenbaum The New Yorker May 13, 2002 In 1997, when Harold Jenkins, the editor of the Arden “Hamlet,” a leading scholarly edition of Shakespeare’s play, went to see Kenneth Branagh’s film version of “Hamlet,” he was both excited and...
By Alex Belth The Stacks Reader January 24, 2020 In the late ’70s, Kenneth Tynan wrote a handful of long, entertaining profiles for The New Yorker—later collection in Show People. It’s our good fortune that the good folks down at Conde Nast see fit to make one of...
By Pauline Kael The New Yorker October 5, 1987 It’s hard to believe that a great comedy could be made of the blitz, but John Boorman has done it. In his new, autobiographical film, Hope and Glory, he has had the inspiration to desentimentalize wartime England and show...
By Jack Murphy The New Yorker 1961 Archibald Lee Moore, the light-heavyweight boxing champion of the world, is 44 years of age by his own account and 47 by his mother’s. She says that he was born on December 13, 1913, in Benoit, Mississippi, but he insists that the...
By Pauline Kael The New Yorker June 1, 1987 The title Tampopo, which is Japanese for “dandelion,” is the name of a fortyish widow (Nobuko Miyamoto) who is trying to make a go of the run-down noodle shop on the outskirts of Tokyo that her late husband operated. The...
By Pauline Kael The New Yorker November 26, 1984 Stop Making Sense makes wonderful sense. A concert film by the New York new-wave rock band Talking Heads, it was shot during three performances at the Hollywood Pantages Theatre in December, 1983, and the footage has...
By Pauline Kael The New Yorker November 17, 1986 For seven decades of romantic screwball comedies, sexy, smart, funny women have been waking up heroes who, through fear or shyness or a stuffy educational background, were denying their deepest impulses. The women...
By Pauline Kael The New Yorker June 29, 1987 Chicago circa 1930—AI Capone’s capital of crime—looks so much better than New York City looks right now that local audiences for The Untouchables may feel somewhat chagrined. Chicago still has solid traces of Louis Sullivan...
By David Freeman The New Yorker June 21, 1993 For a while in the mid-eighties, United Artists paid Billy Wilder a big salary and set him up in an office at its Beverly Hills headquarters. He was supposed to advise the studio’s executives and to give his opinion on the...
By Pauline Kael The New Yorker December 26, 1988 Michelle Pfeiffer tells Mel Gibson how sorry she is that she hurt his feelings. He replies, “C’mon, it didn’t hurt that bad,” pauses, and adds, “Just lookin’ at you hurts more.” If a moviegoer didn’t already know that...
