Socially relevant subplots characteristic of New Hollywood combined with utmost classicism of storytelling and melodrama. And by the standards of either of them, it is still too obvious, too flat, and just plain boring. The whole political agenda in particular awkwardly looks as if it's trying to hide the intention of making another cheesy chick-flick.
Classic and essential. One of those movies thats schmaltzy/overly sentimental, but feels right in this case. Very odd. I think without Redford anchoring things, this couldve been a real bomb, but his understated performance keeps everything grounded and gives a realness to an otherwise fantastical story. Loved it. Streisand is great, but was better in the preceding years screwball com Whats Up Doc. Check it out too
Gli immortali.Pollack firma uno dei suoi lavori senza tempo,attraversa buona parte del secolo americano e lo fà in maniera più calda del solito,con una storia d'amore piena di dubbi e interrogativi.Dosato alla grande,la gestione dei due attori è eccellente e Barbara vince alla grande,con due momenti(la telefonata notturna e l'addio finale) che sciolgono il cuore.Film di una volta,forse irripetibili.
I fell in love with Katie. The way she is putting it together: to express her love and remaining consistent. (By the way have you noticed her beauty and her long, red fingernails?) And, yeah, Hubbell. He is a bit more head-controlled, rational. He knows his deficits, but he also sees, how they complementary match each other. A wonderful romance. Top class love story movie.
It is still as sentimental as it was when it first came out (according to what my mum says, of course), and it is still one of the kings of classical tear-jerkers. And most of all, this is an actor's film, a film for Streisand and Redford, who easily and cleverly pick it up from the romantic melodrama to a landmark. Time hasn't done its job on it, and I'm glad.
To be brief and to the point, this is the greatest love story ever made. Unfortunately, it is marred because Pollack cut out some political material in the end. It was a cowardly thing to do, but he was brave as hell making a film about a communist woman falling in love in/with Hollywood as represented by Robert Redford.