The Way We Were (B+ or 3.5/4 stars)
Few movies devastated its audience back in 1973 - and even today - than the nostalgic opposites-attract love story in 'The Way We Were' (directed by the great Sidney Pollack). Katie Morosky (Barbra Streisand) & Hubbell Gardner (Robert Redford) meet at college in the late 1930s when she was a wacky, mousy, humorless Jewish radical, and he was the strikingly handsome, All-American popular jock -- the big man on campus, so to speak. 8 yrs. later, they accidentally meet in a NYC nightclub. At the time, he is a naval officer & she is working for the Office of War Information. They fall in madly love, have a passionate on again-off again relationship & marry, even though they uneven convictions & have nothing in common.
She is the working-class, uncompromising-in-her-leftist-political beliefs Jewish girl, & he being an elitist WASP, who doesn't think much of politics. They soon head to Hollywood, where she puts her politics aside and aspiring writer Hubbell is set to write a script for producer pal, JJ. They prosper for a while, but as the 1950s Hollywood blacklist/McCarthyism looms largely, Katie's persistent activism threatens Hubbell's reputation and, despite her becoming pregnant, a large divide occurs btwn. them. They separate, years pass, Hubbell's career re-ignites and, after a brief reunion where they lock eyes during one of her protests, they meet on the street in one of THE iconic climactic scenes to catch-up, inwardly lament the trajectory of their romance & share the poignant memory of ... the way they were.
'The Way We Were' is one of the better character driven love stories that Hollywood had to offer. On the surface, it seems like a basic opposites attract romance. But really, there's more depth than that. SHE is the 'Plain Jane', intellectual, liberal-thinking, radical Jewish girl. She is complicated. She is serious. She is the one who cares deeply about principles & causes. She is the outwardly confident, but inwardly insecure girl who only ever dreamed of being popular in school; to be in the same circle as Hubbell. She craves his poularity & acceptance from others.
HE is the golden haired, golden boy/athlete/scholar. He is the easy-going, popular party guy. He's the guy with the sense of humor. He is who every guy wants to be, and who every woman wants to be with. Though he has writerly talent, he doesn't have Katie's drive & determination. And though he is Mr. College, the rest of his life can't compare to his early glory. He craves her smarts & the way she challenges people. But because of the disparity in their political convictions, a long-term relationship seemed destined for failure. But also, I think they both realize that, despite them trying to adapt, when together ... neither of them is who they want to be.
Barbra Streisand is excellent as Katie, a strong woman who still wears her insecurities on her sleeve. And her yin-&-yang chemistry with Robert redford was off-the-charts. Redford's is the more complex character, actually. Sure, he has it all {looks & presence}; but he admires Katie's courage to stand-out from the crowd, speak her mind, and his realization that his life didn't quiiittte live up to the promise of his college years. They each are insecure of what the other has/wants. Two iconic scenes, here. 1) The early commencement dance scene where Hubbell walks over to Katie for a dance. And 2) the repeating motif of Streisand brushing the blonde lock of hair away from Redford's temple, both early on and in the last heartrending scene. Chills.
Cynics will say that the film is too sudsy, too long, & lacks heft concerning the communist radicalism/McCarthy witch hunts of Hollywood subplots. That's fine. I can see those arguments. But sometimes it just doesn't matter when the main plotline is as absorbing as it is. Not only is the acting wonderful; including supporting roles played by Viveca Lindfors, Patrick O'Neal, Bradford Dillman, Lois Chiles, James Woods, Murray Hamilton, Sally Kirkland & Susan Blakely, but the movie looks sensational; with gauzy cinematography & period perfect sets & costumes. Add-in Marvin Hamlish and Alan & Marilyn Bergman's swoon-worthy music {Oscar wins for Score and the classic "Evergreen" song}, and you've got an epic tear-jerker for all-time.
She is the working-class, uncompromising-in-her-leftist-political beliefs Jewish girl, & he being an elitist WASP, who doesn't think much of politics. They soon head to Hollywood, where she puts her politics aside and aspiring writer Hubbell is set to write a script for producer pal, JJ. They prosper for a while, but as the 1950s Hollywood blacklist/McCarthyism looms largely, Katie's persistent activism threatens Hubbell's reputation and, despite her becoming pregnant, a large divide occurs btwn. them. They separate, years pass, Hubbell's career re-ignites and, after a brief reunion where they lock eyes during one of her protests, they meet on the street in one of THE iconic climactic scenes to catch-up, inwardly lament the trajectory of their romance & share the poignant memory of ... the way they were.
'The Way We Were' is one of the better character driven love stories that Hollywood had to offer. On the surface, it seems like a basic opposites attract romance. But really, there's more depth than that. SHE is the 'Plain Jane', intellectual, liberal-thinking, radical Jewish girl. She is complicated. She is serious. She is the one who cares deeply about principles & causes. She is the outwardly confident, but inwardly insecure girl who only ever dreamed of being popular in school; to be in the same circle as Hubbell. She craves his poularity & acceptance from others.
HE is the golden haired, golden boy/athlete/scholar. He is the easy-going, popular party guy. He's the guy with the sense of humor. He is who every guy wants to be, and who every woman wants to be with. Though he has writerly talent, he doesn't have Katie's drive & determination. And though he is Mr. College, the rest of his life can't compare to his early glory. He craves her smarts & the way she challenges people. But because of the disparity in their political convictions, a long-term relationship seemed destined for failure. But also, I think they both realize that, despite them trying to adapt, when together ... neither of them is who they want to be.
Barbra Streisand is excellent as Katie, a strong woman who still wears her insecurities on her sleeve. And her yin-&-yang chemistry with Robert redford was off-the-charts. Redford's is the more complex character, actually. Sure, he has it all {looks & presence}; but he admires Katie's courage to stand-out from the crowd, speak her mind, and his realization that his life didn't quiiittte live up to the promise of his college years. They each are insecure of what the other has/wants. Two iconic scenes, here. 1) The early commencement dance scene where Hubbell walks over to Katie for a dance. And 2) the repeating motif of Streisand brushing the blonde lock of hair away from Redford's temple, both early on and in the last heartrending scene. Chills.
Cynics will say that the film is too sudsy, too long, & lacks heft concerning the communist radicalism/McCarthy witch hunts of Hollywood subplots. That's fine. I can see those arguments. But sometimes it just doesn't matter when the main plotline is as absorbing as it is. Not only is the acting wonderful; including supporting roles played by Viveca Lindfors, Patrick O'Neal, Bradford Dillman, Lois Chiles, James Woods, Murray Hamilton, Sally Kirkland & Susan Blakely, but the movie looks sensational; with gauzy cinematography & period perfect sets & costumes. Add-in Marvin Hamlish and Alan & Marilyn Bergman's swoon-worthy music {Oscar wins for Score and the classic "Evergreen" song}, and you've got an epic tear-jerker for all-time.