The Way We Were (1973) User Reviews (139)

Love among the ruins of personal freedoms.

[mark.waltz · 8/10 · 13 September 2016]

You can't force romance to blossom, to grow, to continue. What you can do is reflect on the mistakes to grow from them, remain true to yourself even while thoroughly and totally in love, and by all means, remember the laughter. For those of us who have tried but failed in love, it is those moments that with luck will prevent the bitterness from taking over and if the two people are mature enough to be in the same room years later without regret, they may even be able to smile at each other and thank them for the memories.

The theme song from this romantic drama says it all as political activist Barbra Streisand falls head over heals with the perfect smiling toothy Robert Redford. She allows her love for him to consume her, pleading with him to see how perfect she is for him, while he demands space. A previous meeting had him basically ravaging her while in a drunken stupor has her allowing the liaison even though he doesn't know that it's her.

Streisand really lets loose with the strengths, the insecurities, the demands, and of course, the finger nails. She leads Redford around by the nose for a short time, but is perhaps too out of his league, too needy yet too intense. She tries to fit in his world, but it only makes her more demanding. Yet, she's not a nasty person, and no matter how hard she tries to tone it down, can't betray who she is inside.

Redford gives his all to keep up with Barbra, but in the long run, the passion she gives to this project makes her the driving force behind its success and legendary status. Even with a cast of veteran actors of stage, screen and TV, there's just no time for any of them to get their fingers into the bowl. A young James Woods does show promise as Barbra's constant companion in the beginning of the film. This is Barbra's film all the way, and love her or hate her, you can't help but admire her tenaciousness. The script by Arthur Laurents and direction by Sydney Pollack are pieces of wood glued onto Barbra's deep thought into her characterization, so the puzzles of who she is come together. This maintains one of the best finales in film made within my lifetime, and one that is heartbreaking as well as touching.

Opposites attract, but rarely last

[sdave7596 · 8/10 · 6 August 2009]

"The Way We Were" released in 1973, stars two of the biggest names in show biz then and now, Barbra Streisand and Robert Redford. The story is basically a weepy melodrama, but who cares? Both of these superstars are the reason to watch. At first, we cannot imagine what they see in one another. They meet in college, circa 1937 -- Katie (Streisand) is a wallflower political activist, Hubble (Redford) is the Golden Boy track star. Yes, both were too old to play college students, so it is obvious the director surrounded them with people their own age, with some decent supporting actors like Lois Chiles and a younger James Woods. The two are reunited by World War II, Redford is in the military but also part of the uppity "Beekman Street" crowd, Streisand is a liberal who is nuts about FDR and working on various political causes. The unlikely twosome fall in love, get married, and do not always have an easy time. Redford doesn't mind his wife's political activity, but he is bored by politics and cannot relate to them. The turbulent 1950's hit, Redford is a writer in "Red Scare" Hollywood who takes the easy way out; Streisand believes people should always stand up for their principles, no matter the cost. Sydney Pollack directed this fine film, and had to convince his friend Redford to take on the part of Hubble Gardner; Redford was reluctant, and it is easy to see why. His character, while a decent guy at heart, is also shallow, somewhat superficial, and doesn't take life seriously. The film obviously exploits Redford's golden boy looks, something he always detested. Streisand's part is obviously the more interesting one, as the part was exclusively written for her. And while her character may not fit in on "Beekman Street," she looks fabulous here. All in all, this is one of the finest romances to come out of the 1970's that also has intelligence and class.

Despite some faults, it's still pretty good

[FilmOtaku · 7/10 · 19 July 2005]

The theme of a golden boy falling for a girl from "another world", be it social class, the "wrong side of the tracks" or fill in your cliché here, is one that goes back to the silent film era. One of the most famous examples is Sydney Pollack's 1973 film "The Way We Were". Set from the 1930's through the 1950's, Barbra Streisand plays Katie, an outspoken member of the Communist party and campus activist who does not have anything handed to her; she works two and sometimes three jobs in order to pay for her living and college tuition. Hubble (Redford) is your typical aforementioned golden boy, a "big man on campus" who indulges in sports, debutantes and all-around good times. The two know each other from the diner Katie works at (he being the patron) and at one point before graduation, briefly bond over their shared passion for writing. Cut to a few years in the future and Katie encounters Hubble at a bar. Hubble is in the armed forces and Katie is characteristically working a couple of jobs while volunteering for various social causes. After a night of drunken sex (Hubble being the drunken one) they embark on an unlikely relationship that spans over a decade and includes a move to California (when Hubble becomes a screenwriter in Hollywood) and the conception of one child. They are happy, but realize that regardless of their desire, they can't completely cross social lines and certainly can't change one another, particularly Katie's ever-ferocious dedication to social causes; a fight that becomes exponentially heated during McCarthy's Red Scare. The two have to decide whether they can sustain enough raw emotion for one another to persevere over everything else that is stacked up against them.

There are several things about "The Way We Were" that require suspension of disbelief (the fact that despite never having had much contact with one another that after one night of drunken lust and an awkward "morning after" being enough to kick start a relationship the magnitude of theirs is the first thing that comes to mind) but the bottom line is that it really is a well-written, well-directed and well-acted film. The two principal characters are full and complex, regardless of whether we are talking about the socially conscience Katie or the socially acceptable Hubble. I suspect they somewhat were written with the intent of familiarity for the purpose of effectiveness, and if this is true, it worked on me. The era in which these two characters were set was a very interesting time in American history, and the characters' actions during these times created some compelling cinema, particularly when it touched on the Red Scare.

But who am I fooling? The main reason people watch this movie, whether for the first time or for the fiftieth is for the doomed romance, and Streisand and Redford deliver in spades. "The Way We Were" was written for Streisand, (something that cause Redford to turn down the part at first, because he knew the film was going to be hers) and her portrayal of Katie is excellent. There are so many perceptions of Streisand nowadays (some of them correct, to be sure) that it's easy to forget that she really does have some serious acting chops, and she exhibits them to full effect here. I also happened to learn that the soft filtered lens thing with her didn't just start with her later movies, for whatever reason she was filmed with that lens more often than not here, but that didn't do anything more than slightly distract me because I couldn't help but chuckle. Redford gives a typical solid performance as well, though his initial doubts about taking the role turned out to be valid; he is not the dynamic figure in the film. However, his character is a strong one and Redford does a good job.

I don't know if Pollack knew he was creating a screen classic when he directed "The Way We Were" but he did make a very good film. If you can make it past some major melodrama and some plot holes (what was the deal with their child?) watch this film, and just sit back and appreciate it for what it is – a chick flick that guys don't have to feel ashamed watching. 7/10 --Shelly

Epic and anchored by the history of the century.

[budmassey · 20 January 2003]

Oh, the way they used to make movies. Robert Redford and Babs. The ultimate star-crossed lovers, him a privileged golden boy for whom everything came too easy, but he knew it, and her a socialist politico who had to work harder for everything because she was plain, jewish, and poor.

Through Beekman Place, McCarthyism, Hollywood, World War II and the fact that they simply weren't cut out for each other, they tried until they couldn't try any more. Barbra is deep and intellectual, at least she wants to be, but ends up being the ultimate drama queen, "I'm not pretty enough for you, am I?" and "Nobody will ever love you like I do." Redford is aloof and chilly and beautiful and as shallow as a mud puddle.

BUT, if you can watch that last scene, "I can't Katie." "I know." and not open up the waterworks then pack up your DVD player and give it to the Goodwill, because movies are not for you.

Epic and anchored by the history of the century, The title, The Way We Were refers to all of us. It's how we once were when things mattered and we cared. Too often dismissed as a chick flick or a tear jerker, this is two of the best there ever were at their personal best.

the never-changing look of a God

[SnoopyStyle · 7/10 · 18 February 2019]

It's WWII. Katie Morosky (Barbra Streisand) is a Jewish girl working in New York radio pumping out patriotic programming among her many activist jobs. In a nightclub, she runs into former crush and Naval officer Hubbell Gardiner (Robert Redford). In college, she was a communist student leader struggling to rally against Franco with Frankie McVeigh (James Woods). He was the WASP star athlete, the man around campus, and outwardly lived a carefree life. He's taken with her tenacity and she admires his writing. In the post war years, they are married in Hollywood where he writes for the studio and she fights against Mcarthyism.

She has the better part. He's playing the trophy wife. His hemming and hawing with his writing is a bit infuriating. He's too cool for school except for a few emotional outbursts. Those are great for showing some depth in his character although the couple seems to have only two polar opposite gears. As for her, Streisand gives it her all. There is a grating edge to her character which is not that appealing. I do like that these two flawed characters struggle with their undeniable connection until I can't take their unending fight about politics. Another issue is the unchanging Grecian God beauty of Redford's look. This movie takes place over decades. He needs to change. Maybe give him a buzz cut during the war years. There is the famous song which I wouldn't diss or praise. Pollack delivers a solid melodrama although the relationship gets too melodramatic at times.

Odd couple romance that goes off on a tangent

[dfle3 · 7/10 · 11 March 2009]

This movie seems very much a star vehicle for singer Barbra Streisand, who plays undergraduate student Katie Morosky. Set in 1930's America at the start of the movie, Morosky is a politically active communist on campus, who hands out flyers and speaks at anti-war rallies. The man who will become her love interest is Hubbell Gardiner, played by Robert Redford. Gardiner is more a part of the elite than Morosky and is not politically active at all...he's more hedonistic, hence their being a potential odd couple.

For this early part of the movie, you have to suspend disbelief over how much older Streisand and Redford seem in relation to the characters they play. In other words, they look too old for their parts. However, Redford gives a completely winning performance early in the piece as an undergraduate student. He is all easy charm, manners, and engagingly amusing to boot...in contrast to oh so serious Morosky.

Now, not being versed in the history of this production, it does come across as Streisand pulling all of the strings. She is not a conventional leading lady, and her pairing with Redford would not seem an obvious choice. To me, their early attraction was glossed over, which made Morosky seem a little bit creepy when she does get into bed with Gardiner for the first time! So, if Streisand did pull a lot of strings to make this movie, it perhaps represents some 'wish fulfilment' on her part! And, as if to explain her presence in this film, Morosky does say some things which seem to have psychoanalytical weight for Streisand's own situation (i.e. Morosky's views on her looks, which may engage the audience member wondering why Streisand is paired with Redford).

The undergraduate Morosky may seem a tad annoying early on, but the more mature Morosky does engage more...not being so militant, and ridding herself of that overgrown mop of hair on her head which didn't sit right with me. It's then that it becomes more understandable why Gardiner would be attracted to her.

Theirs is an intriguing relationship, especially in how Morosky deals with Gardiner's friends, who are more like him than her. During the period that they are in university together (or maybe it's called 'college' in the US), attention is paid to Gardiner's writing ability. It is this part of the story that will later have a life of its own in the movie. Initially this branch of the story seemed quite odd...why focus on this if this is meant to be a love story? Things become clearer later on, as the historical context of the film's setting becomes clearer. This historical context may prove to be an eye-opener for Americans who are "Generation X" or "Generation Y".

When I jotted down notes on this film, I wrote: "The ending is sort of established, so, like the start, you wonder about the specifics". Hmmm, not sure what I meant by that!

Anyway, I give this film 65/100. Intriguing, and Redford shows his star qualities here-the Brad Pitt of his day.

almost 50 years later ....

[montgomerysue · 6/10 · 5 February 2021]

My girlfriend in college took me to see this in the fall of 1973. I thought it was pretty good and she loved it. There was a lot of hype over this movie that lasted through the holiday season. Streisand and Redford were at the top of their game and the radio was playing the theme song incessantly. The other day, my wife put this on tv and I sat down to watch it with her. The direction by Sydney Pollack, the cinematography, set decorations, and costumes are still top notch. Really an attractive looking film. But, almost 50 years later, I feel that the performances of the leads just do not stand the test of time. This was no doubt a vanity piece for Streisand at the time, but now her acting just seems a little high-handed and hammy. Redford looks like he's bored with the entire affair. Any chemistry between their two characters just seems sort of forced. I read during the intervening years that many excellent scenes with talented actors Viveca Lindford and Bradford Dillman were edited out of the final release, which is a shame. Their characters were somewhat intriguing. That being said, it is glaringly apparent that Dillman was edited during the famous sailboat scene with Redford towards the end. At one point, Dillman's character laughs, and you don't even know what he's laughing at. Pollack claims that the editing was done to crank up the romance story as opposed to the Hollywood blacklist plot line. But severe editing was done on the great Anne Francis in Streisand's "Funny Girl" in order to make sure no one upstaged Streisand. Was the same thing being done here again for both Streisand and Redford ? In any event, this is a watchable movie, but in no way is it a timeless romance or drama, and if you want to see Streisand and Redford give some really good performances, look elsewhere.

One of the best movies of the 70s.......

[mrcaw12 · 10/10 · 24 February 2004]

Contains Spoiler I read some of the comments registered here on The Way We Were and felt I needed to add my comments.

First of all, I think a lot of people are viewing this movie through politically correct, 21st century eyes.

Comments have been made about Redford's character "abandoning" his kid after he splits with Streisand's character at the end of the movie. However, the movie implies that Streisand's character moves from California back to New York while Redford's character stays in sunny Hollywood. If this were the case, back in the 1940s it was not as common for people to hop on a plane going from coast to coast. It would not be uncommon at that time for a woman to remarry (which Streisand's character does) and have her new husband basically raise the kid. Especially if the natural father was (as in this case) across the other side of the country. Societal customs were much different than they are now concerning extended families and such.

The two sides of the country also represent the main characters. Sunny, beautiful, extroverted, physically inclined Hollywood (Redford) on the west coast and the grayer, more complex, intellectually inclined New York on the east coast (Streisand).

I'm also surprised at the comments regarding the characters motivations in finding the other attractive. I thought the movie made it very clear & believable. Both characters are acutely aware of their projected image to others and both characters feel trapped by these labels. This is something very significant that they share which bonds them. Redford's character chafes at his pretty boy image yet is at the same time uncomfortable in the role of writer. When his short story is read in class, he is visibly uncomfortable yet still wants the approval of his classmates. Redford's character wants to be strong yet have a vulnerable artistic side appreciated. So too is Streisand hampered by her image as an intellectual, wise cracking, thick skinned rebel. She, unconsciously perhaps, longs for a man to treat her gently, appreciate her as something more than a spokesperson, more as a unique person, a woman.

Each of the characters tentatively pin pricks the other's exterior reserve. Redford by trying to make Streisand smile, relax, not take life so seriously and Streisand by trying to make Redford feel respected and have his writing valued. Each receives from the other something most people won't give them. Streisand is made to feel beautiful and interesting and sexy and something more than just her political beliefs while Streisand lets Redford know that beneath the blond surfer boy looks she sees depth and integrity.

The movie also deals with culture clashes within society. Redford's character is the classic White Anglo Saxon Protestant upper class while Streisand the lower class ethnic, non-Christian. That they even consider forging a relationship between the two of them would have raised eyebrows at the time.

I'm surprised (though perhaps I missed it) that no one commented on two of the films most famous lines. In an argument near the end of the movie Redford & Streisand battle it out with Redford declaring that people are more important than principles with Streisand answering back that people are their principles.

I agree with many that this is one of the best movies to come out of Hollywood in the 1970s. I think both lead actors were perfectly cast and the period feeling of the WWII era is beautifully rendered.

There are many wonderful "moments" throughout the film. The scene where Redford is out in the ocean on a small sailboat with his good friend and the two are playing the "best ever" game. When the friend calls out the category as year and Redford starts identifying first one year then another then another as his best or favorite years the viewer knows without being told that the years he's listing are his years he's spent with Streisand. The camera records Redford's bittersweet face and pulls back, showing the friend on the boat silently witnessing his friend's pain, then the camera pulls back in a helicopter shot showing the boat being bounced on the waves. It's an extraordinarily poignant moment in film.

As mentioned in other reviews, the shots of Streisand brushing back Redford's hair off his forehead are sexy and intimate without being graphic.

Another moment I love is near the end of the film and Streisand says to Redford wouldn't it be wonderful if the two of them were old and they would have survived all of this. Again, with brilliantly written dialogue and performed by professionals the movie accomplishes much depth without resorting to histrionics.

I think it's a very romantic film along the lines of Casablanca and Gone With The Wind and Brief Encounter.

I say, rent the film, don't try to over analyze it, just relax on the couch either by yourself or with your partner and just enjoy an old fashioned story of boy meets girl, boy woos girl, boy loses girl in the end.

The Way We Were

[jboothmillard · 6/10 · 14 May 2008]

I think the main reason I wanted to see this film was because of the title song by the leading actress, and it sounded quite good, from director Sydney Pollack (Tootsie). Basically Katie Morosky (Oscar, BAFTA and Golden Globe nominated Barbra Streisand) runs into past love Hubbell Gardner (Robert Redford), and of course we see a flashback to the love they used to have in college in the 1940's. Back in this present time, 20 years later, they reconnect quite quickly. The only problem they have is their political opinions, and Katie pushing Hubbell to write another book. It may have lasted a good long while, but eventually their differences separate them again, and in the end they meet again, moved on and saying what is essentially goodbye (for good). Also starring Bradford Dillman as J.J., introducing Moonraker's Lois Chiles as Carol Ann, Patrick O'Neal as George Bissinger, Viveca Lindfors as Paula Reisner, Allyn Ann McLerie as Rhea Edwards, Murray Hamilton as Brooks Carpenter, Herb Edelman as Bill Verso, Diana Ewing as Vicki Bissinger, Sally Kirkland as Pony Dunbar, Marcia Mae Jones as Peggy Vanderbilt and young James Woods as Frankie McVeigh. It may be a bit too chatty at times, and Streisand and Redford are a little forceful in their performances, but the Oscar winning music by Marvin Hamlisch, and of course the Oscar and Golden Globe winning title song by Streisand (which was number 8 on 100 Years, 100 Songs) is certainly worth the while. It was nominated for Best Art Direction-Set Decoration, Best Cinematography and Best Costume Design. It was 64 on The 100 Greatest Tearjerkers, and it was number 6 on 100 Years, 100 Passions. Good!

"If We Had The Chance To Do It All Again, Tell Me, Would We, Could We?"

[bkoganbing · 9/10 · 17 January 2009]

I recall a line from The Alamo in which John Wayne says to Linda Cristal that political differences don't make for good breakfast talk between a man and a woman. That's a piece of wisdom that Barbra Streisand and Robert Redford should have remembered for their characters in The Way We Were.

Meet Hubbell Gardiner and Katie Marofsky from the Thirties at Columbia University. Redford as Gardiner is your all American athlete and the Prince Charming of many a young girl's dreams. An elegant WASP Ivy League future is in store for him if he wants it.

One of those girls who thinks Redford is Prince Charming is Barbra Streisand as Katie Marofsky. She's a member of the young Communists and is one eloquent campus radical for her cause. When we see her she's got a picture of Lenin in her dormitory room. We see her talking about the cause of Republican Spain and the budding young Ivy League Republicans on the campus are hooting her down. All, but Redford who's impressed by her convictions even if he doesn't share them.

But when the USA does get into World War II and Redford is in the Navy and Streisand now working for the Office of War Information now meet. Politics seem to take a back seat to romance and Streisand lives out a real life fairy tale as a Brooklyn Jewish Cinderella.

Their love gets really tested in the post World War II period during the Red Scare. Streisand's not quite the Communist she once was, a picture of FDR is now in her room. That was in fact one of FDR's main contributions to our body politic, winning over budding revolutionaries like Streisand to support our democratic, (big and small "D") way of life. But he's gone now and the Soviet Union has become our cold war enemy. A lot of people are now caught in the post war reaction.

Because Hollywood is the glamor capital of the world and right-wing politicos can't get any mileage out of investigating Communist plumbers, it's to the movie capital that the House Un-American Activities Committee turns. Redford is now working in that industry as is Streisand.

Redford sees the problem in personal terms, Streisand sees the big picture, but that's all she does see. How things resolve themselves is the basis of The Way We Were.

With all the political differences there beats the heart of one of the best love stories ever done in Hollywood. When Redford's around, Streisand lights up the screen with her passion for him. But it never quite covers the different world views they have.

With such detail given to the stars by director Sydney Pollack, the supporting cast and it's a good one, never really establish their characters. Maybe that's what he wanted, to have them appear as plastic as Streisand's Katie Marofsky thinks they are.

The Way We Were contains the title song written by Marvin Hamlisch and Alan and Marilyn Bregman which became one of Streisand's best loved ballads. Her singing of that song is unforgettable whether heard on record or if fortunate, live at one of her concerts. Bing Crosby also made a nice recording of it for one of his last albums. Hamlisch also won an Oscar for Best overall Musical Score that year, they were the only two Oscars won by The Way We Were.

The sad thing about The Way We Were is that Streisand and Redford hold such different views and yet are fundamentally decent people who cannot agree to disagree. It's what makes The Way We Were such a beautiful, yet ultimately sad film.

In many ways the film is beautifully made--but with one HUGE flaw

[planktonrules · 6/10 · 12 June 2005]

The music, the directing and acting are just fine in the movie. The only problem for me (and others may NOT care about this) is the basic relationship problem. Robert Redford is stunningly handsome, rather quiet, rich and conservative in the movie. So WHY would he be interested in Barbra Streisand's character? She is loud, exceptionally opinionated, liberal and not attractive (this is a BIG acting stretch for her, I know)--at least in a conventional sense. We have all heard the old saying "opposites attract", but it is only an old saying and really isn't true. If it were, then believing this relationship would be a lot easier. The problem is, they just don't seem to have ANY common ground. If they were incompatible but had SOME mutual interests or similarities, I could buy the conflict.

Fans of "Babs" no doubt think I'm a moron for not understanding or appreciating her greatness. While I may be a moron (the jury's still out), most Americans either adore her or can't stand her films. I'm one of the latter ones.

Hollywood schmaltz or deeply felt love story?

[moonspinner55 · 9/10 · 4 September 2005]

Actually, "The Way We Were" is both, and happily so. It's a classy romantic period drama about a 1940s wallflower in New York who blooms in love with her ex-jock boyfriend (an old acquaintance from their college days), and the movie overflows with star-power. None of today's celebrities have the kind of chemistry Barbra Streisand and Robert Redford bring to the screen, and Streisand in particular is so deeply into this character that the herky-jerky editing and breathless writing don't harm her or get in the way (the faults can easily be overlooked). When writer Redford adapts his novel into a screenplay and the couple marries and moves to Hollywood in the McCarthy-Blacklist era, her passion for politics gets them both in hot water; that's where this script hits a snag, with increasingly melodramatic plotting (Redford's affair with a former flame) and confusion in the character motivations (this primarily due to hasty, eleventh-hour editing). Still, it is a handsomely-produced movie with a great tearjerker ending and two fine stars who plow right through the nonsense and bumpy continuity. They transcend the make-believe surroundings, turning the picture into something really special, something to remember. ***1/2 from ****

what a great script & acting!

[raylb50 · 7/10 · 2 February 2008]

The screenplay is what makes this film above all else. Nothing less than brilliant! The film captures the political mood of Hollywood at that time. The two main characters were interesting throughout. The ending is by far the saddest I have ever seen in any film, having two daughters myself, both very much Daddy's girls, I cry every time I watch the last scene. After they split, as he's based in Hollywood, she in NY, they decide best he doesn't see his daughter, to allow Katie's new husband to be her dad. In a chance meeting on a NY street..., 'She's beautiful, Hubble, you'd be so proud, you'll see her when you come for that drink.' 'I...I...I can't, Katie...I can't....you know I can't come...is he a good father?' 'Yes, Hubble, he's a good father, a very good father.'..........' Take care, Katie' 'And you, Hubble.....' He walks away, the music starts up again.... The End. I'm welling up now, just thinking about it!!

Stars (and stripes)-crossed lovers

[Lejink · 5/10 · 9 November 2009]

I wasn't quite convinced by this big-star, big budget post-war Hollywood background love story and even though I was committed to watching it all the way through, it seemed to me an uneasy mix of a love-story set to the backdrop of the anti-communist witch - hunt of the day. While it has some points in its favour, I found the writing and acting of not quite the highest standard leaving a sense of unfulfilment by the end.

Hollywood in the 70's was at last ready to confront openly its own shame at its treatment of left-leaning actors writers and directors ("The Front" starring Woody Allen was soon to follow) and "The Way We Were" must have been something of a trailblazer in that respect which is certainly to its credit. Furthermore it's laudable to present the viewer with a deeper than usual love-story against this background, with many of the conversations of the leads debating interesting points on artistic integrity, political correctness and the shallowness of much of the general public's response to freedom-challenging issues of the day. In the end though I got the sense that director Pollack was more interested in the love story angle than the political angle (perhaps with an eye on the box-office) and this throws the film off-kilter.

Streisand gets the showiest part (and, interestingly, her name in front of Redford's over the titles) and is mostly good. She's usually better when she says least (for example when Redford crudely and drunkenly "makes" her at her apartment) although her motor-mouth delivery obviously helps with her character's verbosity. More than once, though, you can see her acting and obviously hoping that Oscar was watching (he obviously wasn't). Redford is altogether more natural in his part as the handsome hunk with something approaching a brain but who ultimately can't accept Streisand's at times over-strident political philosophising. However one's sympathy for his character was dissipated by his turning love-rat on a now-pregnant Streisand and then abandoning her and their child almost the minute the child is born. Both these actions are loathsome in the extreme (not to mention an offensive homophobic remark he makes at another juncture) and by the time he's walking out on her for the last time at the conclusion (having also now sold-out the writing talent which Streisand alone had encouraged), you realise you've been watching a "woman's" film after all with the dice loaded in favour of Streisand's character. I was disappointed with this revelation as to Redford's character's true colours and felt it inconsistent with much of what had gone before.

The film was obviously on a two-header basis which doesn't leave much room for the supporting actors to shine although Brad Dillman and Lois Chiles do okay with what they're given. Director Pollack keeps the narrative moving although some of the settings and costumery employed looked at times too contemporary. I'm also bound to state that I never got the impression that either lead was ageing down the years.

As for the music score, while Marvin Hamlisch's title song is pretty and has obviously become a standard, I felt its strains were just too intrusive throughout and felt it should have been left a titles-only piece.

A film then, at once ambitious and conservative, political and soporific, lush but talky - in the end I found it didn't enmesh these contradictions sufficiently well and missed its marks accordingly.

One of the best romances of all-time!

[MAX80 · 15 December 1998]

There are movies about love being made all of the time. After awhile, they all begin to look the same. However, once in awhile, one is made that truly stands out. THE WAY WE WERE is such a film. This film, mixing love and politics, finds two individuals (Barbra Streisand and Robert Redford) who meet in college, but years pass before a romance blooms. She is an political activist, he's bored by politics. She's stern and serious, he's easygoing and laid-back. Although they love each other deeply, their differences begin to tear them apart. As far as romantic tearjerkers go, they don't get much better than this. Both Striesand and Redford are perfectly cast and their characters are ones in which viewers will grow to love and care about. Many viewers will also appreciate the realistic ending. This is a beautiful film.

Vintage romance between conflicting ideologies

[roghache · 7/10 · 23 March 2006]

When I first saw this movie after its release, I was quite enthralled but suspect, having matured somewhat, I might be considerably less so today.

The film chronicles, over a period of two decades (1930's to 1950's), the tempestuous romance between two opposites. When they first meet in college, Katie is an outspoken Jewish, liberal (no, Communist) activist, working hard to put herself through school. Hubbell is a wealthy, conservative, golden boy WASP, more interested in sports than in causes. When they meet up again some years later, they have a romance that leads to pregnancy, get married, and move to California. However, by now it's getting into a politically volatile era where people are being blacklisted as Communist sympathizers, and their ideological differences cause problems...

This movie is for me, memorable mainly for the amazing on screen chemistry between its two very adept stars, Barbra Streisand and Robert Redford (perfect in their roles here), the immortal tearjerker ending, and the song The Way We Were.

Reading the commentary, I somewhat agree with other reviewers that, even though Katie has remarried, the idea of Hubbell abandoning his daughter, of having no contact with her whatsoever, is not very endearing. However, times were different during that era, and custody or visitation back and forth between New York (Katie) and California (Hubbell) would have proved difficult and unusual. Truthfully, the kindest thing he may have done for his daughter, assuming Katie's current husband to be a loving and decent man, is exactly what he did...stay completely out of the picture and let his daughter have one consistent male parent, the step father. So, while Hubbell on the surface appears selfish and negligent in his parental responsibilities...

This film is a classic romance from my college years, and as such I remember it fondly. It's a testament to a quotation I once heard to the effect that a happy marriage does not depend upon the two people looking at each other, but in them both looking outward in the same direction. I guess we have a demonstration of this here with the apparently insurmountable obstacles faced by Katie and Hubbell.

Anyone remember in "Gilda Live", when Gilda Radner played the theme song?

[lee_eisenberg · 7/10 · 13 February 2006]

OK. So Barbra Streisand has a weird reputation (although I agree with her political views), and Robert Redford is...well, I don't know how to finish the sentence (although it seems that his politics are about the same as Streisand's). But "The Way We Were" does what it can to look at politics from the Depression to the postwar era. Streisand is the left-wing political activist, Redford the apolitical athlete, and they become lovers, but get forced apart by the red-baiters.

Apparently, when this came out, director Sydney Pollack wanted people to interpret it mostly as a love story, but also to pay attention to the politics. I still don't know whether the political aspect or the lovey-dovey aspect is supposed to dominate. As a political message, this is certainly a good movie, but do we need the love story? By the way, has anyone ever seen Gilda Radner's concert movie "Gilda Live"? In one scene, she appear as Lisa Loopner, describes this movie's plot, and plays "The Way We Were" on the piano. The things that we see in life.

Misty Water-Colored Movie

[JamesHitchcock · 6/10 · 20 September 2013]

"Memories, Like the corners of my mind Misty water-coloured memories Of the way we were".

When I recently sat down to watch "The Way We Were" for the second time (the first having been over ten years ago) I realised that Marvin Hamlisch's famous theme song was about the only thing I could remember about it. Of the film itself I only had misty water-coloured memories of a campus romance between a handsome, blond upper-class WASP boy and a working class girl, a sort of remake of "Love Story" except for the fact that the girl, who is Jewish rather than Italian Catholic (and a lot less attractive than Ali McGraw), doesn't die at the end. The scriptwriter Arthur Laurents in fact wrote the leading male role with Ryan O'Neal, the star of "Love Story", in mind.

The film opens in the late 1930s when Katie Morosky and Hubbell Gardiner first meet at university. The two do not seem to have much in common. She is a working-class Jewish Marxist and president of the college branch of the Young Communist League, whereas he is from a wealthy upper-class WASP background. (At least, everyone seems to assume that Hubbell is a WASP, although his Protestantism is never actually mentioned in the film. He could equally well be a White Anglo-Saxon Catholic or White Anglo-Saxon Atheist, but WASC and WASA do not work so well as acronyms). This, however, seems to be one case where opposites attract, and Hubbell and Katie fall in love. They are temporarily separated, but meet again after the war and marry. The film then follows the subsequent history of their marriage.

Perhaps the reason so little about the film remains in the memory is because it is a misty water-coloured movie. By that I am not referring to its visual style; the photography is crisp and well-defined. There is, however, something vague and insubstantial about the plot. It doesn't help that both the leads are so unsympathetic. Hubbell is good- looking and charming, but shallow and superficial, unwilling to work hard at anything. When we first meet him he has ambitions to become a writer, and clearly has talent in that direction, but after publishing his first novel never has much success, preferring to work for easy money producing scripts for Hollywood and television.

As for Katie, I find it very hard to sympathise with a strident and unapologetic defender of Stalin's regime, even though Laurents obviously intended us to find her sympathetic, politics and all. One of the causes of the growing estrangement between her and Hubbell is his dismissal of her political activism, but this is one area where I felt he showed more sense than she did. The film deals with McCarthyism, but in a classical piece of solipsism fails to acknowledge that the concerns of the House Un-American Activities Committee went much further than a few blacklisted Hollywood directors and screenwriters or that the great majority of McCarthy's victims had absolutely no connection with the motion picture industry. Nor does it explore the irony of Communists like Katie invoking the protection of the American Constitution they were sworn to destroy or ask why, if they were so concerned with freedom of speech, they did not demonstrate outside the Soviet embassy demanding that Stalin extend to his own subjects the freedoms they were claiming for themselves.

Another problem with the film is that too much is taken for granted and not enough explained. It purports to be a study of a marriage, but important events in the story of that marriage are rather glossed over, such as Hubbell's affair with the ex-wife of a friend. The final scene shows Hubbell and Katie meeting again in the sixties, and it is clear that they are now divorced (and Katie re-married), but the actual divorce and what led up to it are never shown. We are left to conclude that the differences in their background and temperament have made it impossible for them to live together. (To be fair to Laurents, his original screenplay was very much altered to meet the studio's demands and various other writers were brought in to contribute, which possibly explains the plot's lack of coherence).

Robert Redford's rather laid-back style of acting made him a natural choice for a laid-back character like Hubbell. Casting directors from this period often liked to pair Redford with a more intensely dramatic leading lady to emphasise the contrast between their characters. Sydney Pollack, who directs here, had already done this by casting Redford opposite Natalie Wood in "This Property Is Condemned", as had Gene Saks (less successfully) with Jane Fonda in "Barefoot in the Park". (Pollock was later to make the Redford/Fonda pairing work more effectively in "The Electric Horseman"). Certainly Barbra Streisand is at her most intense here, but she is faced with the impossible task of trying to make a Stalinist harridan into a likable human being, and we never really care about what happens to her character.

On the positive side, Hamlisch's romantic and poetic musical score is a very fine one and Streisand gives a marvellous rendition of That Song. 6/10. (5/10 for the film itself, with a bonus point for the music; Hamlisch deservedly won Academy Awards for "Best Original Dramatic Score" and "Best Original Song").

Beautiful movie

[West Hol · 10/10 · 22 May 1999]

I think the word for this movie is, gorgeous. Nothing I've seen (I haven't seen a lot, but still) has compared to the chemistry, the depth of feeling, and the realistic portrayal of two opposites both beautiful in their own right. This movie is a testament to the way we were really, how it was beautiful to be decadent and disgusting in the thriving 50's, of the attractive "waspishness" of Ivy leaguers, of politics and war. The movie is not dated either, its quality making it appealing to a whole spectrum of people who would normally not be interested in something this good. I first saw this movie in a history class and to my surprise most of the people in the class loved it, people who would normally go see "Titanic" and rave about it for days. I think that is, if not something else, at least evidence of this movie's depth, quality, feeling, (and although very sentimental) realism. If you enjoy the finer things in life, dim the lights, fix yourself a vodka martini straight up, and watch "The Way We Were".

Streisand is Great, and it's Nice to See a Romantic 70s Film

[salramirezjr · 7/10 · 30 May 2021]

Streisand and Redford have great chemistry, and you feel the love that they do. At the end of the day, this film is about questioning what is more important to you: being with the person you love, or staying true to yourself? Even if the answer seems clear, it isn't always, something this film portrays.

The Last Scene Says It All

[GingeryPsychNP · 10/10 · 20 January 2020]

Such a beautiful movie. Such a sad movie. The last scene explains the entire movie. And the title song is iconic! I remember it from my childhood. To those who are unable to understand or follow a plot, you have to read between the lines.

Star Quality Makes this movie good but not grat

[tony-ritchie-965-605112 · 7/10 · 26 March 2018]

I re-watched the Way We Were last night and came away with these thoughts. It is visually a very well made movie and Redford and Streisand are both very good and have great on screen chemistry. It is at the end of the day a good love story.

However the story is very uneven. I felt the second half of the movie was not nearly as good as the first. Some of the motivations for Katie and Hubell didn't always make sense and seem to be over done. Hubell no really wanting to see his baby or have anything to do with it at the end painted him to be a little bit of a jerk which is not the best way to end it.

STREISAND AND REDFORD ! CINEMA MAGIC!!

[olddiscs · 10/10 · 14 July 2002]

The Way We Were is undoubtedly the most romantic film of the 1970s Romantic, an intelligent script, beautifully written, wonderfully acted (what a cast!)/ and directed. and that score!! maybe its being taken for granted.. the score(points) here should be higher... its a wonderful film! The chemistry between Streisand & Redford is pure cinema magic.. Its a pity they did not act together again in a sequel or other property. Makes you laugh, cry, has a political message of great importance, yet its always warm, moving and interesting... not a dry eye in the house in 1973... & am always moved by subsequent video showings.. Streisand should have won her second Oscar.. people still talk about The Way We Were & her & Redfords performances... who won best actress in 1973.. ?few will remember.. only Oscar buffs (like me) Glenda Jackson!!! for A Touch of Class (Women in Love yes, "Class " no) ... this was the beginning of the anti Streisand sentiment in Hollywood... she & this film will live on.... Thanks to TCM for a wonderful letterbox screening today (7/14/02).... "memories "should always be as beautiful as this.....

This is one good movie that was unfairly treated by audience

[zfiany · 7/10 · 20 November 2009]

It's a very good movie that was unfairly treated by audience though it had many true messages. The movie talked about a point that is rarely dealt with in romantic stories specially the new ones that stray away a lot from reality. The point is when two are in love but have different perspectives to life. It's truly a major issue in any relationship and was honestly dealt with in this movie because in the beginning when the passion is too strong both parties show the willingness to compromise but later when life takes over and time starts slowly killing this passion, both can tolerate the difference no more!

I loved so much the final scene when he sees her in the street and goes to say hi. She invites him to the house to see his own daughter but he refuses to saying: "You know I can't!". Waw! It means he is still in love with her because when a love that is too strong passes by you once, you know you will not forget it but you know that you can bury it alive!

Both actors Redford and Streisand were amazing in their roles and couldn't have though of somebody else replacing them. The roles were truly made for them.

Questionable Pleasure

[Davalon-Davalon · 4/10 · 29 December 2012]

I was relatively young when this film first came out. I, like many others, thought it was great, and loved Streisand and Redford and the theme song. I recently saw TWWW again, nearly 40 years later, and my opinion has changed dramatically. I cannot deny that Redford and Streisand definitely seem to have some kind of chemistry. And, as I felt the first time, Barbra represented every ugly duckling, gay or straight, who somehow manages to capture the prize. Via Barbra's performance, we can easily imagine what it must have been like to lie down with a prince. This, I think, may be one reason why the film had a certain level of success. Barbra also had moments where she "spoke the truth" with passion and intensity. I think people related to this outspokenness, this gutsiness, this willingness to take chances and not apologize for one's opinions. Barbra was also the "outsider" -- she was the smart Jewish girl who knew she had to work harder, study more, and fight for what she wanted, because nothing would come to her easily.

It is for these reasons why I think the movie resonated. But the reality is: The movie is not about anything, not really. What, exactly, is the plot? They meet in school, they meet years later, they fall in love, they get married, he has an affair, they divorce, they meet again... okay, so what? Barbra, who does have tons of talent, but in this film looked like she was performing her graduate project for Acting 101, spends a lot of time arguing and getting upset about things. But whatever those things are seem to be only tangentially connected/related to the rest of the story (if you can call it that). Bob, yes, stunning to look at, coasts through the film with little to do or say. He didn't want to do the film, and I can see why. Yeah, he looks great, but what is the emotional arc of his character?

A lot was cut from this film and as a result, it seems disjointed. There is an inordinate amount of time spent on Bob's career as a screenwriter in Hollywood while a pregnant Barbra tends to their little beach house. And yet everyone seems miserable and unhappy. Voices were raised, but nothing really happens.

Near the end when Barbra has apparently given birth to their child (after it's clear that their relationship is over), Bob shows up at the hospital. Barbra is perfectly coiffed and made-up as if she's just come back from a spa. He stands there, emotionless, ready to abandon her and their newborn child. We're supposed to like him? I couldn't stand him. In fact, James Wood, who we meet early on in the film, who seems to be Barbra's quasi-boyfriend in college and who seems to support everything she was trying to do, is clearly a better man for her--but he wasn't as handsome. Life is cruel, isn't it?

Finally, the theme song: Yes, it is a beautiful song for what it is and Barbra sings it beautifully. Who knew that it would become an iconic song and help define her career? She didn't even want to sing the song--she felt it was too simple. She had to be talked into it.

So, finally, in the end, what are we left with? A unique opportunity to see Barbra and Bob dressing in period costumes, lots of bad, bad lighting, a plot-less rambling "story" that does not stay any one place long enough for us to care about much of anything, lots of intense arguing and challenging others from Barbra, and lots of stoic looks from Bob. And yet, it was a big hit. Like I said at the beginning, it was Barbra's "ugly duckling" status and "landing the prince" that I think resonated with a large part of the audience. At least it did with me... back then. At this point in time, I just kind of stared at it in amazement and said, "What exactly is this all about?"