The Way We Were 1973

The Way We Were

Critics Consensus

The Way We Were is not politically confrontational enough for its story of ideological opposites falling in love to feel authentic, but Barbra Streisand and Robert Redford's beaming star power gives this melodrama romantic lift.

63%

TOMATOMETER

Total Count: 27

81%

Audience Score

User Ratings: 21,469

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Movie Info

Opposites attract when, during their college days, Katie Morosky (Barbra Streisand), a politically active Jew, meets Hubbell Gardiner (Robert Redford), a feckless WASP. Years later, in the wake of World War II, they meet again and, despite their obvious differences, marry. Hubbell wants to be a screenwriter, so the two move to California despite Katie's objections. They prosper there, but as the Hollywood blacklist looms, Katie's activism threatens her husband's reputation.

Cast & Crew

Murray Hamilton
Brooks Carpenter
Patrick O'Neal
George Bissinger
Viveca Lindfors
Paula Reisner
James Woods
Frankie McVeigh
Ray Stark
Producer
Arthur Laurents
Screenwriter
Marvin Hamlisch
Original Music
Harry Stradling Jr.
Cinematographer
John F. Burnett
Film Editor
Stephen B. Grimes
Production Design
William Kiernan
Set Decoration
Dorothy Jeakins
Costume Designer
Moss Mabry
Costume Designer
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Critic Reviews for The Way We Were

All Critics (27) | Top Critics (7) | Fresh (17) | Rotten (10)

Audience Reviews for The Way We Were

  • Jun 19, 2018
    Streisand and Redford have no chemistry together, the dialogue is usually awkward and awful, the love story is completely artificial and Streisand's character is so insufferably anal that it is hard to believe that anyone would ever fall in love with someone like that.
    Carlos M Super Reviewer
  • Jul 07, 2014
    This movie starts out with heated sociopolitical debate and a great feminist role model, but then brassy, independent Katie devolves into Overly Attached Girlfriend - fawning over Hubbell, the poor little rich boy with a streak of writing talent, who buys her a beer and patronizingly ties her freakin' shoe? (I hate all shoe-tying imagery in art! I hate it when looks-so-much-like-his-dead-mother Ginny does it to Harry Potter. I hate it when Ted does it to baby-talking Boats-Boats-Boats Becky on HIMYM. I surprisingly don't mind glass slipper symbology because it's quick, okay? You just slip it on. "It's the condom of our generation." Tying a shoe is a ham-handed, Oedipal commitment of a romantic gesture.) Anyway, Katie essentially rapes him and ropes him into falling in love with her, but she's made to apologize so much for her tempestuousness and "wrong style" while Robert Redford's dead eyes glaze over in a masquerade of privileged, white, liberal ennui. The flashback structure of the film's beginning is also wasted. I thought YEARS had gone by before they meet again and that the whole movie would be about their college relationship and "the way they were"... The movie gets so episodic after that inciting incident, documenting every bit of grueling conflict contributing to their doomed partnership. A donnee or redemption moment nearly appears when Katie shouts, "You'll never find anyone as good for you as I am, to believe in you as much as I do or to love you as much!" but it's too late. They're still wrong for each other, but we're never given a convincing enough reason in the script or the performances for why they got together in the first place and why they stayed together for so long. And he never meets their daughter? Weird. Highlight is Barbra Streisand's soaring mezzo-soprano in Marvin Hamlisch's titular song.
    Alice S Super Reviewer
  • May 26, 2014
    This well loved but ultimately barfy film has Barbra Streisand and Robert Redford falling in love, separating and then reuniting. It unfortunately inspired a number of films that were even more barfy than the original.
    John B Super Reviewer
  • May 16, 2013
    Set against the background of political turmoil, a radical and a milquetoast writer fall in love. A saccharine love story, when this film succeeds it's because Robert Redford was just absolutely dreamy in his prime. He was also a great actor, working with a subtle strength and playing off his natural magnetism. However, most of the time, there is little that any actor can do to save this meandering script. There is a certain truth to relationships that flounder because there is too much work involved, but this theme is more developed in real life than in cinema, and this film doesn't do much original. I've never been a fan of Barbra Streisand as a cultural icon or as an actress, and while I can't say that there was anything horrible about her acting, there wasn't anything extraordinary either. Overall, this film is another reason to love Redford, but the story is weak.
    Jim H Super Reviewer

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