Film critic Pauline Kael was at the peak of her popularity in the mid-1970s. At the opening of a long New Yorker article entitled "Cicely Tyson Goes to the Fountain" (January 28, 1974), she writes:
"At American movies now, black people are just about the only ones looking to find heroes for themselves. Films made for whites are curdled with guilt and confusion; the heroes are corrupted, they fail, they live or die meaninglessly."
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