Sydney Pollack directed the drama romance for the ages with his 1973 feature The Way We Were. Often cited as a large influence of American directors, The Way We Were explores what identity means to different people, and just how much of our identity we will sacrifice for the ones we love. Filmed against the backdrop of the changing political climate in America between the 1930's-1960s, The Way We Were is a beautiful illustration of the depths of love and what human beings will do to love and be loved. Barbra Streisand and Robert Redford give emotion-packed performances reminding audiences why they are viewed as the acting talents that they are. Katie (Barbra Streisand) and Hubble (Robert Redford) first meet in college in the late 1930's. Katie is known as the campus activist and can most often be found organizing a protest or a sit-in somewhere around campus. Hubble, on the other hand, can most often be found on a track or football field and is known for his athletic abilities. They couldn't appear to be any more opposite until Katie learns there is a deeply creative side to Hubble that he stifles to protect his jock image. Regardless of the differences that stand in their way, the two forge a friendship, then a relationship with each other. Katie is a Jewish Marxist, and interested in the social struggle of human beings everywhere, whereas Hubble is a privileged white male that has never had to work for anything in his life. Hubble is the epitome of the type of man that Katie would usually detest, but a fledgling writer herself, she is drawn to the passionately creative side that Hubble keeps under wraps. Desperate to bring this side of Hubble to the forefront of his personality, Katie prods and prods him until he finally relents and moves to California to focus on his writing full-time. Despite their glaring differences, Hubble also relents and begins a storied relationship with Katie as the two live in California in what should be blissful unity. The couple soon learns that neither are happy in their now stifled lives. Katie feels as though she put all of her political interests on the back burner while she was pushing Hubble to pursue his writing. Hubble feels as though Katie is not really the kind of woman he wants, as he seeks the old-fashioned, doting wives of his friends. Realizing, no matter how hard they try, their union is strained and not making either one happy, Katie and Hubble must make a decision that will affect them both for the rest of their lives. The Way We Were was beautifully shot, with wonderful images of the different cities the pair lived in constantly flooding the screen. From the glorious opening shot of this film, one can see that the camera work in The Way We Were is above compare. The rich coloration throughout the film really aids in the understanding of how infused the love between Katie and Hubble was. The acting was a treat in this film. From the understated hopelessly in love James Woods to the captivating chemistry between Streisand and Redford; there is no shortage of on-screen talent in any scene in this film. The pacing of this film was a little slow but is easily forgiven because of the way the slow pace allows the audience to see how at times deep, and at times agonizing the love is between Katie and Hubble. At one point or another in their lives together, Katie and Hubble are both making immense sacrifices of themselves. As their identities mature and develop in unison with each other, they are also at times both sacrificing themselves for the other. The overarching question becomes, just how much identity one is willing to sacrifice for the other. If you are fortunate enough to discover your own identity, never lose it for that of another. Many people navigate life never knowing themselves, let alone ever really knowing someone else. Love is essential to human existence, but not living true to oneself can end one's existence; The Way We Were is a beautiful illustration and reminder of such concepts.

In my experience of watching movies, THE WAY WE WERE is a rare bird: a romantic drama that isn't corny, has complex characters, and weaves in sociopolitical commentary without being overbearing about it. Given the title (and absolutely beautiful title song), nostalgia is one of the film's major themes. Yet nostalgia isn't approached from a purely idealistic standpoint either, as a third-act line from Hubbell (Robert Redford) indicates ("Katie, it was never uncomplicated"). The film, to a degree, is about how politics can be divisive, particularly in personal relationships, but also in one's professional life, as part of the story takes place against the backdrop of McCarthyism and the Blacklist in Hollywood. I found the whole thing to be extremely well-written and balanced, with Barbra Streisand and Robert Redford's characters each making valid points about devotion to causes, perception vs reality, and relationships. I haven't seen a lot of movies with either person, but both of them were in very good form here. And, the film had a very strong three-act structure that brought out the central relationship's development that much more. On technical matters, I thought period detail was attended to very well, with each segment/act being distinct in terms of light, color, etc. Then, there's the title song. Barbra Streisand has a beautiful voice that fit Marvin Hamlisch's music to a tee; and, the music itself did an excellent job of evoking a sense of nostalgia throughout the entire running time, appearing in various forms and instrumentation over the course of the film. It is without hesitation or reservation that I put this among one of my favorite films of all time. Everything about it just works, from the story, the acting, the music, etc. It's the kind of movie that will have you longing for the "good old days," even if you never grew up during that time period.

The Way We Were (1973): Dir: Sydney Pollack / Cast: Barbra Streisand, Robert Redford, Bradford Dillman, Lois Chiles, Patrick O'Neal: An opposites attract romance where the male cannot commit himself yet he can sleep with the woman in question. Romance reflecting upon nicer times that grow into loveless empty worlds. Barbra Streisand plays a political activist and Robert Redford plays a Hollywood screenwriter whom she knew long ago. They get reacquainted and romance blooms but they share different views on political issues. Directed with insight by Sydney Pollack who previously made Jeremiah Johnson and They Shoot Horses Don't They? While his talent brings out the theme, the screenplay blemishes the theme with its formula driven romantic drivel. Streisand plays her role with zest and intelligence but when she becomes pregnant Redford is unable to be there thus concluding upon bypassed responsibility. Redford is a fine actor but here he plays a guy who is unlikable and unsympathetic. Supporting roles are also flat with Bradford Dillman and Lois Chiles among others basically filling space. This film isn't very romantic by any means but it does feature the inspiring vocals of Streisand within the film's signature song. Although its romantic themes diminish it does reflect upon missed opportunities and moving on with hidden regret. Score: 5 ½ / 10

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?"