In the early 1960s, when I was an undergraduate, I first began reading Stanley Kauffmann in The New Republic, and I got pulled into his eloquent enthusiasms for the exciting new art coming to the States from Italy, France, Sweden, Japan, and Eastern Europe. “There was a masterpiece almost every week!” I heard him exclaim about ten years ago—a little hyperbolically, perhaps, but it felt that way at the time.
Stanley Kauffmann and I went way back together, without ever having met. The New Republic was the first magazine I subscribed to as a high school teen, and Kauffmann the first film critic I regularly read. He was my introducer to Ingmar Bergman, Francois Truffaut, Claude Chabrol, and, for me the crowning name, Yasujiro Ozu. At that avid, foraging stage in my self-education, I barely registered that there were other critics sitting in their cockpits feasting on the images whooshing by, apart from the phrase-snapping stunt pilots at Time and Newsweek, w
Among the duties that new Back of the Book assistant editors find on their roster when they first arrive at The New Republic: Go to New York—particularly, the penthouse of a West Village apartment building. It was there that Stanley Kauffmann lived for many years, and where he would welcome, every few years or so, the culture pages’ newest recruit, serving slightly warm apple juice and candied pecans, or, if the hour had passed a certain, sliding point in the afternoon, white wine. These appetizers were nothing, though, compared to what he had to offer in conversation.
Unflagging dedication and unclouded acuteness of perception
We are saddened to report that Stanley Kauffmann, our film critic of more than five decades, died early this morning at St. Luke’s Hospital in New York at age 97. We will be adding to this tribute throughout the day.
The New Republic mourns the death of our beloved film critic, Stanley Kauffmann
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