Not bad. Good little tear jerker of a movie. Saw it again for the first time since the 70s. Here are my pros/cons having just finished it. The good: performances are great. The theme song is very catchy. Streisand, in particular, plays here role as the annoying activist well. I just wanted to shake her and tell her to stop the entire time! The bad: The leads had no chemistry...I just don't believe their romance. Redford, at almost 40 years old, in no way passes for a college student for the first 30 minutes of the movie...are you kidding me? The ending kills me: how could any father just walk away from their kid and want no participation in her life? Maybe I'll watch it again in another 50 years :).

Beautiful cinematography and color, and how is Robert Redford so insanely charming and handsome in every movie???? However, this is seriously lacking from chemistry, energy, and some of the early scenes are incredibly uncomfortable and are hard to look past.

Brilliant acting - addition of the new scenes in the 50th anniversary re-release buttons up the story and propels this film to 10/10.

One of my favorite movies. Redford and Streisand were perfection in this movie. Great storyline about what was happening in America and Hollywood during that period in history.

One of my favorite movies of all time. I saw it when it first came out and both Barbra Streisand and Robert Redford gave us one of their best performances. It's a classic.

The words the way we were refers to only a small part of this movie. It seems that a romance movie called The Way We Were had to made someday and this movie was the one chosen to wear that name.

THIS MOVIE is why we DO NOT need critics. What a bunch of jerks. This is one of THE BEST MOVIES of all time, period, end of story. The critics gave this a 63%??? Rotten Tomatoes, should do away with critics and just give audience score. That is the ONLY thing that matters. This movie is a 10 out of 10 and I am not even a Streisand fan, but credit where credit is due. She is fantastic and Redford supports at his best. Top 50 movies of all time.

This is a truly weird film. It felt like that a much longer film had been butchered by incompetent film editors to get it under two hours. But instead of upping the pace or reshooting scenes with snappier dialogue, instead it's all the scenes where something actually happens that are cut, so that every moment of the endless wrangling between the two stars is dwelt on as they attempt to resolve or come to terms with their fundamental incompatibilities. Crucial plot developments are only hinted at or dissected after we haven't seen them, so unless the viewer pays close attention it's easy to lose the thread of what's happening. Also cut are all the scenes that could have earned anyone else a "best supporting" nomination. It would be harsh to say that this film is Hollywood navel gazing at its introverted worst, but only because Barbara Streisand acts her socks off, and Robert Redford is at his most handsome. Maybe it all meant something to someone who lived through all this, but for me it had all the timeless universal significance and tragic intensity of a legal dispute over the repair of a fence.

Sydney Pollack's The Way We Were is a great occasion to see two wonderful stars, Robert Redford and Barbra Streisand, at the height of their powers. The two are radiant and believable and their scenes together very satisfying. And the costumes and decor are very evocative of the 30s, 40's and 50s portrayed here. The problem is that the good-looking film built around Streisand and Redford is preachy and belabored. Sydney Pollack wasted some of his great talent making a few films, like this one, that have a scolding tone about events from the past that seem to be what we would call today "virtue signaling" yet don't add anything new or interesting to the historical perspective.

I'm surprised this hasn't been remade recently, although it likely has in some way, under different titles, without my noticing. The story was pretty good and well presented but the characters and performances never completely drew me in or captured my undivided attention. This was headed for a 6/10 at best but I ended up really appreciating the direction the conclusion took. You have to mention the soundtrack here too which I hadn't realized I was already familiar with...

Handsome jock writer meets kooky communist, with predictably hilarious consequences. Can she change him, can he change her? A classic script with the best of directors and A-List, screen filling stars who can even do the theme tune. Watch the romance play itself out over a clear four act structure at Williams(?), Washington D.C., LA and New York at critical times for the USA: FDR and the New Deal, WW2, McCarthy trials and nuclear proliferation. It's a masterpiece, a proper movie.

ok it includes two dead serious subjects that does not expand the least adequately.1)the black list,and 2)their child that,we really do not get the picture,they lied to her about who her real father is,or she knows but redford never sees her?..? if you read the script it seems a disaster.but yet,it's still a masterpiece,because it gloriously succeeds in the romantic zone.star appeal and lightning chemistry between these two makes up for everything else.and ,of course the song..THAT song..

"TAKES MY BREATH AWAY" LOVE FILMS by Timothy J. Verret I'm as drawn to love films as a beautiful and majestic horse is drawn to water. I create so much about and from the notion of love that it sometimes is hard for me to take a decent, deep breath. Here are 10 (actually 11) films about love (or the lack thereof) that "take my breath away" and heal my still-sometimes-very-broken heart (BOTH!): 1. SHAKESPEARE IN LOVE (1998): This would indeed be my all-time favorite love film because it's got Shakespeare and it's got that message: "Love is the ONLY inspiration." This film is inspired by a great and awe-inspiring love for acting, writing, directing, and how passion engages all of these things in one love film. Even if this film was not an ode to why Shakespeare wrote sonnets in the first place, the scene where Viola is onstage in a staged production of Shakespeare's ROMEO AND JULIET and William is lovingly looking at her from the wings is more than enough of a reason why I adore this love film. Viola loves William, William loves Viola, and the music takes us away to just this one moment of two looks and two smiles all looked and smiled in the name of a beautiful, all-encompassing love. That scene alone "takes my breath way" every time I see it. Even though this film is #10 on my all-time favorite films' list, it is solidly #1 on my all-time favorite love films' list (I guess you could say, "so the last shall be first, and the first shall be last" [Matthew 20:16]). 😉 2. SCENES FROM A MARRIAGE (1973): Swedish director Ingmar Bergman is not known for gushy and silly love films, but this film IS a very serious love film because Bergman gives us both the glory and grime of a marriage dissolving. In true and typical Bergman fashion, each scene of this film is a very serious "take my breath away," because the truth and turmoil at the heart of this marriage ending are about as real as my hand in front of my face. Liv Ullmann and Erland Josephson as Marianne and Johan give towering performances. I will never forget the scene where Marianne and Johan go to the lawyer's office to sign the divorce papers and literally get into a fist fight. After the fight (and the marriage) is over, they both with their tattered hair and hearts sign the divorce papers. This film is as stunning as it is sacrificial. Marriage IS sacrifice and when that's not there, stunning is any marriage's dissolvement. I probably could have listed a handful of Ingmar Bergman films that explore the theme of this kind of intense love, but I have to keep this list as brief as possible.😉 3. MARRIAGE STORY (2019): Very much like SCENES FROM A MARRIAGE, this film is haunting and often horribly uneasy to sit through. Scarlett Johansson as Nicole and Adam Driver as Charlie give exceptionally riveting performances as a married couple with way too big egos (she is an actress and he is a theatre director and if that's not "way too big egos," I don't know what is). I will never forget the scene where Nicole goes to Charlie's apartment and they are in the throws of so much anger and so much hurt that the walls of Charlie's apartment are about to come down. Johansson's Nicole delivers to Driver's Charlie the line that is THE line where love hoped to save this marriage and love can't save this marriage intersect, "You're so merged with your own selfishness, you don't even identify it as selfishness anymore!" That line "took my breath away" because I totally identified with it. A marriage on its way to a divorce is all about selfishness unidentified anymore. The proclaimed egos of both partners "win out" and when ego "wins out," everything is "lost in" a marriage war of two "way too big egos." 4. THE DANISH GIRL (2015): It's so cool that this film is #4 on this list, as #4 is my spiritual number. It's also cool that this film is #4 on my all-time favorite films' list, as well. The story of Gerda and Einar (Lily) Wegener is what love films should always be about: The sacrifice one partner needs to make for a marriage to survive (often times in a marriage, both partners have to make sacrifices). Gerda makes the ultimate sacrifice by accepting that her husband, Einar, believes he is a woman and wants to have an operation to become Lily, the woman he always was on the inside. Anyone else that I can think of in Gerda's position would have said in response to this, "no way, no how….this marriage is OVER!" Gerda loves Einar so much that she is willing to do just about anything (and she does) to keep their love alive. Alicia Vikander (Oscar winner for Best Supporting Actress) is an absolute and complete revelation in her performance as Gerda, and Eddie Redmayne completely and totally seals the deal in his performance in this film to make him my all-time favorite actor next to Joaquin Phoenix. I swear I could go on and on about how this film "takes my breath away" at every twist and turn where love is concerned but, once again, I'm needing to be brief here.😉 5. YENTL (1983): Very similar to THE DANISH GIRL, this film is not your conventional love film. It's about a woman who loves this man who thinks a woman is a man, this man who loves another woman who is also a woman but since he can't have this other woman, the man asks a woman to marry this other woman so he can be close to this other woman, and a woman who this man thinks is a man marries this other woman, and if none of that "takes your breath away," I'm not sure what ever would! This film "takes my breath away" because it's simply about the lengths and heights and depths we find ourselves reaching for in the throes (or thrown) of love. And because I am a huge Barbra Streisand fan and this is Barbra's best film EVER, I can't think of any other love film that pleases and excites me more than this one. And never mind that it is mainly because of Barbra Streisand and my love for her that helped me to believe that I could ever be someone someday who could love someone someday. Now, that "takes my breath away." 6. WHO'S AFRAID OF VIRGINIA WOOLF? (1966): While most in a million years would never call this film a "love film," I do because it's a film about the absence of love in a marriage, the absence that is SO common in a lot of marriages, and an absence so penetrable that the married couple in this film actually make up that they have a child to keep the marriage bearable. Edward Albee's play and Mike Nichols' film adaptation are what I love most about stories where love has flown the coop (if it was ever in the coop in the first place), i.e., the dissection and probing of the insides of people who are losing their identity because love has become nonexistent while brutality and mean-spiritedness are what's left to exist. Elizabeth Taylor, known for her striking beauty, goes from "riches to rags" in her physical beauty and gives us an "ugly" Martha, a force of nature who is as forceful as she is vulnerable. Taylor, Best Actress Oscar winner) gives what I consider the very best female performance ever captured on film. Richard Burton as George and George Segal as Nick are also excellent, but it's the other female performance of Sandy Dennis as Honey (Best Supporting Actress Oscar winner) that makes this love film truly one that "takes my breath away" every time I see it….and I've seen it a lot!😉 7. TESS (1980): If there can be any love film that is truly lovely to look it, it would be this film. Based on Thomas Hardy's classic novel of the same name, Roman Polanski directed this film that makes the novel come breathtakingly and beautifully alive. This film "takes my breath away" not just because it's pretty to look at but also because it is rapturous and daring to expose seduction between a man and a woman as actually rape, and how that one act of domination produces shame that stays with the victim. I know that one's shame is to be nailed to The Cross of Jesus but for some, death is the one way, and maybe the only way, to be rid of that shame. Nastassja Kinski as Tess might not be the best actress who ever lived, but Polanksi knew exactly what he was doing by casting her in the title role. Because Kinski was a relative unknown and maybe because Polanski knew she wasn't the greatest actress around, it was precisely these two very things that allowed Kinski to inhabit Tess as bright-eyed innocent, and naïve. A well-known and a great actress would have destroyed these precious traits, so thank God Polanski and Kinski didn't. There's one scene of a closeup of Tess with the brightest yellow sun behind her that to this day, every time I see a sun like that, it "takes my breath away," and I call it, "the Tess sun." LOVE THAT! ❤️ 8. THE WAY WE WERE (1973): It certainly makes sense that I would have two Barbra Streisand films on this list but even if I didn't love Streisand, this film would be on it anyway and probably most others' "love film" list. It's the ultimate love story of the girl over there and the guy over here and how there and here come together and we are all the better for being present to witness that. The odds are that two beautiful actors like Redford and Streisand couldn't possibly go wrong in a beautiful love film that ends with a closing scene that still "takes my breath away." Streisand's Katie and Redford's Hubbell are looking at each other after having separated when famous Streisand takes that famous hand and famously brushes away that famous hair from Redford's famous face. "See ya', Katie." "See ya' Hubbell." See me balling my eyes out.😥😥 9. CASABLANCA (1942): While not the film I would have included on my "take my breath away" love films' list, I'm including it because it's on the top of the list for two of my favorite people and because any film with an actor or actress with the last name of "Bergman" should be on any film list I compile (see #2 for that "other Bergman" film). That said, I have seen this film and I remember loving it very much. Many "love film" aficionado's are divided into two camps where this film's ending is concerned: One group wants Rick to let Ilsa board that plane to Lisbon with Laszlo for The Resistance, while the other group says, "C'mon! Rick and Ilsa forever! We're not talking about The Resistance here! We're talking about love!" This film reminds us that love doesn't always end as victorious as The Resistance, but what we cannot "resist" is that we loved in the first place. That is usually enough for any kind of love to take flight. 10. IT HAPPENED ONE NIGHT (1934) and SOMEWHERE IN TIME (1980): I admit I was torn between which of these films to include to round out the top 10 "take my breath away" love films, until it dawned on me that both films have something very much in common: The element of time when and where love is lost and/or found. IT HAPPENED ONE NIGHT is simple enough to say love can happen one night, whereas SOMEWHERE IN TIME says one night is fine, but true love cannot be contained by the element of time. Love can happen one night, sure, and then more nights can happen after that, but sometimes you have to go "somewhere in time" to find that love again. Whether one night or "somewhere in time," love alters us to our very core and we do search time and space to find it, but there are no guarantees that the Jericho Walls (reference to the ending of IT HAPPENED ONE NIGHT) will stay up or come down when love happens in just one night or "somewhere" outside of space and time for a lifetime. Now, I'm not currently in a love relationship (unless you count Jesus) but if I were, my partner would need to have seen AT LEAST one of these films. If not, watching AT LEAST one of these films is essential if any partner who loves me expects to "take my breath away." 😉❤️

Never really bought the Streisand/Redford connection. Just nothing going on there. The entire movie becomes a platform for Streisand to screech and preach. The story might be believable if Redford was beautiful and tortured or ordinary looking and waspish. I suppose he is supposed to be Fitzgerald, but Streisand is no Zelda, just a loud pain in the a- -.

This is a pretty good movie.

I hated every bit of it.

A cute romance that tries to raise politics by casting opposite parties in love with one another. It was good, but Streisand was annoying.

The Way We Were is a relationship drama that explores the idea of opposites attracting one another. I have to say that this film feels so brilliantly cast because the main character is a direct reflection of my impression of Barbra Streisand. She is bold, brash, and not at all afraid to speak her mind. She is willing to take on a political cause, and isn’t the type that can stifle her views when confronted with someone who disagrees with them. Likewise, Robert Redford seems exactly like the type of guy who is laidback and willing to go with the flow. His good looks and suave sophistication make me think things might have come easily to him, and he’d have tons of friends. It’s possibly the best casting for lead roles in a romance that I’ve ever seen, because I even bought their chemistry. They seem like two people in love, but their diverse personalities make this entire movie like a ticking timebomb waiting to explode. While I was all-in on the casting and the romance, The Way We Were isn’t exactly the type of story that I love. There’s a lot of relationship drama here, and as I’ve said before, I can get enough of that in my own life without needing to sit through fictional characters bickering. Their story is told in an interesting way because it starts in one time period, flashes back to the past, returns to the original time, then moves forward in progressively larger chunks of time. It feels like the type of thing that could get tedious or confusing. However, I thought the entire team of people behind and in front of the camera did a marvelous job showing us when events were happening without needing a notation on the screen. Their tumultuous relationship feels authentic and I felt happiness, sadness, embarrassment, and frustration with them. It’s definitely an effective film, and for those who enjoy connecting with this kind of romantic drama, I could see it being a huge success. For me, it wasn’t exactly enjoyable even though it was real and affecting.

How could the pair that made the wonderful Out of Africa (1985) have made a romantic drama so lacking in passion and excitement? The blame could sadly be lain at the feet of female lead Barbra Streisand who sucks all of the air out of the film to make way for her hammy, irritating performance as Fanny Brice if she were an obnoxious communist. The film purports to be about more than a romance between two relatively different people and pretends that it cares about weighty issues like McCarthyism and radical politics. What makes watching the film so difficult is that it pretends to care equally about the two characters and the conflicting political views they hold but it is so clearly on the side of the heroine that we feel like we are being lectured instead of considering the issues the film focuses on. Even if you are liberal you will be turned off by the way that this film handles it's characters and the political views they hold. In the late 1930s, political radical Katie Morosky, Barbra Streisand, develops an attraction to the wealthy and popular Hubbell Gardiner, Robert Redford, despite his not being invested in politics. The two meet again when he returns from fighting in World War II and sleep together before entering into a committed relationship. Morosky attacks those around her who do not hold her views and alienates Gardiner and his friend group who are more conservative than Morosky is. The two briefly break up but then reconcile after Morosky realizes she has no other friends and she becomes pregnant when they move to California so that Gardiner can be a successful screenwriter. Morosky is again frustrated by the fact that she believes Gardiner is ‘selling out' by writing commercial films and she places them in a precarious position during the era of McCarthyism. Gardiner decides to abandon Morosky and his child and is later seen to be happy with a new woman while Morosky has continued to be a political activist. In a great romantic film we understand why the two main characters are attracted to one another and can see the arguments between them from both of their perspectives. This film fails on both accounts as it is perplexing why Gardiner would ever be attracted to the insufferable Morosky while Morosky is only attracted to Gardiner because he looks handsome. Their arguments are also difficult to understand as you would expect that Gardiner is aware of his wife's political views, he has seen her give speeches in support of communism several times, yet this seems to be a revelation to him when he becomes a screenwriter. Criticisms of Out of Africa are often directed towards the fact that Redford's character, Denys Finch Hatton, was flat and lacking in personality. I disagree with that criticism as I think his character is fairly well defined and the film gives him an opportunity to defend his philandering and noncommittal nature but this film is worthy of that criticism. Perhaps this film was written as a Streisand vehicle and that is why it feels like Gardiner falls to the wayside throughout most of the film. The inclusion of political issues in the film is rather infuriating as this is not a film that can handle these topics and all of the references seem forced. A film like The Remains of the Day (1993) is able to balance a touching romance with commentary on fascism in England in the World War II era and the effects of the class system on those born to a low station. Unlike that film this movie did not have any subtlety to it and we aren't caught up in Morosky's passion for radical politics or Gardiner's slow disillusionment with his wife. The movie also makes the decision to have it's heroine berate the screenwriters of cheap, commercial entertainment. This would be acceptable if this were a film directed by Paul Mazursky or John Cassavetes but this was a movie made by Sydney Pollack starring two of the biggest movie stars working at the time that aims to appeal to a wide audience more than making any real political commentary. If course all of this is not helped by the fact that Streisand and Redford have almost no chemistry and seem like they aren't even delivering lines in the same room.

OK - INSECURE MALES AFRAID TO ADMIT TO SENTIMENT - IT IS A LOVELY LOVELY FILM - IT TOUCHES EMOTIONS - IT IS ACTUALLY ABOUT YOUTHFUL IDEALISM AND HOW WE GROW FROM THAT AND THE CONSEQUENCES IT BRINGS - THE FILM IS GORGEOUS - IT IS GORGEOUS!! PERHAPS IT WOULD RESONATE MORE IF IT WERE ABOUT SUPER HEROES OR ALIENS, HUH? - A MOVIE THAT ACTUALLY ADDRESSES REAL LIFE - TOO MUCH FOR THE FILM GOING AUDIENCE OF TODAY- THE 70'S- I BELIEVE WAS THE TRUE HOLLYWOOD GOLDEN AGE - 온라인카지노추천 IS SO MUCH MORE INTELLIGENT AND INSIGHTFUL NOWADAYS - HATE AWAY!!