Several years later they meet on the street, and we're supposed to think it a defining moment in the travails of the human heart - secretly, he still loves her! I'm afraid I still see Hubbell as a writing hack who has taken special care to avoid excess drama in his life. Perennial smoothie Hubbell has taken the easy path ever since college, and shows no sign of having worked up a sweat from breaking with Katie. Aided by the engaging title song, they even pull off a romantic coup with what should be a humiliating final scene. The filmmakers get an A+ for conjuring up an old-fashioned romantic tearjerker packed with noble suffering and bittersweet sacrifices. Sometimes we forget if the war is over or what exact year it is. Just the same, in its middle section the movie begins to fragment somewhat, with the story getting lost amid montages of sailboats and fireside lovemaking. In 1973 most viewers hadn't yet encountered a scene in which a woman makes love to a near-unconscious, inebriated man - it's funny because it's very likely a common experience for many women. He's the beauty object and she's the Woman For All Seasons. The glamour is certainly there viewers still swoon over the image of Streisand brushing Redford's golden hair off his forehead. Arthur Laurents certainly knew how to write to Streisand's strengths - as well as her requirements. Even as an insecure student humiliated because her writing isn't praised, Katie is clearly a woman of great courage and commitment. Katie initiates most everything that happens - meeting, having sex, taking a stand and breaking up. The Way We Were tells its story from the woman's POV, or better, the Streisand POV. And like those other actors, he's playing George Brent to Streisand's Bette Davis. Career-wise the movie is indeed a Streisand triumph, in that Redford is no Omar Sharif or Ryan O'Neal, but a equally bankable top-rank star. As is nicely pointed out in the disc's commentary, Redford is the glamorous sex object, while the film belongs firmly to Streisand. One of Redford's complaints was that the Hubble character is functionally passive, a supporting part. Like almost all Barbra Streisand movies, the focus never leaves the star. The Way We Were was sold in glamorous 1940 fashion, as a stellar collision of the romantic personalities Streisand and Redford. Katie decides that their relationship is doomed by politics and just plain fate. Hubbell doesn't see what's to be gained by getting involved. Katie has dropped her political activities, but when the Cold War witch hunts begin she feels the need to take a stand. They eventually marry and move to Hollywood, where Hubbell's influential friends find him studio screenwriting work. Katie encourages Hubbell to live up to his potential. She finds Hubbell in a white Naval uniform drinking in a bar, and takes him to bed. Years later during the war Katie is an energetic contributor to the war effort and FDR's social programs. Eastern college girl Katie (Streisand) is a Red-sympathizing college activist who becomes infaturated with a white-bread Adonis, aspiring writer Hubbell (Redford). The creative infighting between Pollack, Redford and Streisand turned the making of The Way We Were into a high-powered Hollywood battleground.Īrthur Laurents' screen story was almost abandoned in re-writes, yet mostly reinstated before filming began. Streisand wanted Sydney Pollack, and through him enlisted as her co-star the ideal male heartthrob of the moment, Robert Redford. After six years in movies and wielding impressive clout, Streisand made most of the major personnel decisions on the picture, not just the choice of cameraman, Harry Stradling Jr. Woody Allen's The Front (coming next February from Twilight Time) may have been the next blacklist-themed major release, and that was several years later. The original screenplay by Arthur Laurents has autobiographical aspects, and embraces a "daring" theme dear to the New Liberals of the '70s Hollywood establishment: the hot-button topic of the Hollywood Blacklist. This was Barbra's penultimate commitment to producer Ray Stark, so it was difficult to find a script that was both commercial enough for him and challenging enough for her. It wants to be many things but best succeeds as a high-end vehicle for its leading lady, the talented powerhouse who conquered most every career challenge available in show business. The Way We Were remains one of Barbra Streisand's most popular pictures. Title Song Marvin Hamlisch, Marilyn and Alan Bergman Starring Barbra Streisand, Robert Redford, Lois Chiles, Patrick O'Neal, Bradford Dillman, Viveca Lindfors, Murray Hamilton, Sally Kirkland, Connie Forslund, James Woods, Susan Blakeley. Street Date Novem/ available through Screen Archives Entertainment / 29.95
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