Pauline Kael joined The New Yorker in 1968 amid significant changes in cinema, inspired by films like 'Bonnie and Clyde'. However, by 1971, frustrated with the industry's regression towards sentimentality and restrictions on creative expression, she penned 'Notes on Heart and Mind', articulating her grievances in a manifesto-style critique. She criticized studios for stifling new voices and pressured critics to conform, while her insights would define her influential career until her retirement in 1991.
Movie executives often say critics should be the same age as the average moviegoer; sometimes they say reviewers shouldn't go on for more than three years or they won't have the same enthusiasm.
Kael charged that studios were clamping down on the new creative freedom of young American moviemakers and injecting their films with what she called the new sentimentality, a regression to obsolete commercial traditions.
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