I’d be really happy if New York Times film critics A.O. Scott and Manohla Dargis were awarded Pulitzers in the same year. The quantity and quality of their writing is pretty stunning. The pair teamed up for a discussion about the legendary Pauline Kael, an influential scribe in her day (and ours, still) who was a thorny character, to say the least. An excerpt from Dargis about the erstwhile celebrity status of film critics:

“If she still casts a shadow it’s less because of her ideas, pugilistic writing style, ethical lapses and cruelties (and not merely in her reviews), and more because she was writing at a time when movies, their critics and, by extension, the mainstream media had a greater hold on American culture than they do now. In his book Easy Riders, Raging Bulls Peter Biskind relates a story from the mid-’80s when Kael turned to Richard Schickel at a meeting of film critics and said, ‘It isn’t any fun anymore.’ Mr. Schickel asked her why and she replied: ‘Remember how it was in the ’60s and ’70s, when movies were hot, whenwe were hot? Movies seemed to matter.’ The thing is, they did matter and still do, just differently.

One thing that changed was the role of the film critic, who by the mid-’80s no longer had to persuade a skeptical, sometimes hostile general audience that it was necessary to take movies seriously. In 1967, though, Kael had to explain in The New Yorker why and how Bonnie and Clyde was important (and in 9,000 words!). She was part of a critical vanguard spreading the new film gospel in reviews, books, talk shows, everywhere. They were true pop cultural figures. The critic Judith Crist even shilled for a feminine-hygiene spray. She later said that she did the ad because Richard Avedon took the photos, she could write most of the text and the ad would reach more than 100 million readers. Also: she got $5,000.”

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Kael and other film critics were famous enough in 1977 to be spoofed by SCTV: