It was only in the late stages of her New Yorker career (from which she retired in 1991) that some of her admirers began saying she had sold her point of view too effectively. A year after her death (in 2001) one formerly enthusiastic reader, Paul Schrader, a screenwriter of films such as Raging Bull and Taxi Driver, wrote: "Cultural history has not been kind to Pauline."
Kael assumed she was safe to defend the choices of mass audiences because the old standards of taste would always be there. They were, after all, built into the culture. But those standards were swiftly eroding. Schrader argued that she and her admirers won the battle but lost the war. Acceptable taste became mass-audience taste, box-office receipts the ultimate measure of a film's worth, sometimes the only measure. Traditional, well-written movies without violence or special effects were pushed to the margins. "It was fun watching the applecart being upset," Schrader said, "but now where do we go for apples?"
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