When Redford died last month at 89, many mourned not just his passing but the loss of a mystique-filled movie star. He was the last of the old school stars, as the concept of a movie star has largely faded. Audiences now prefer blockbuster events over individual stars.
Because the average age of a Madison College student is 27, it’s unlikely that most of the student body is familiar with his body of work. However, many of his films continue to resonate today, reflecting timeless themes that remain palpable today.
The following films, which date back to 1969 with “Downhill Racer,” remain relevant by exploring themes of freedom of the press, government paranoia, love and loss, political idealism and the cost of success.
“All the President’s Men”
Robert Redford and Dustin Hoffman, directed by Alan J. Pakula, (1976)
Redford plays Washington Post reporter Bob Woodward, who covers a seemingly minor break-in at the Democratic Party’s National headquarters. When he discovers top lawyers and suspicious fundraising addresses, he teams up with Dustin Hoffman to link the burglary to the White House.
“All the President’s Men” reminds today’s audience of the critical role of a free press and of holding those in power accountable, especially in today’s gridlocked political landscape. Despite the technological differences from today’s press, for example, the two reporters sift through paper records in libraries and archives, use rotary phones and flip through telephone directories. The story remains significant today.
“Three Days at the Condor”
Robert Redford and Faye Dunaway, directed by Sydney Pollack, (1975)
Set mainly in Manhattan, Redford plays an introverted CIA researcher who returns from lunch only to discover his co-workers have been murdered. As with many thrillers, Redford spends the rest of the movie trying to avoid his own murder and outsmart those responsible.
This post-Watergate movie captures the paranoid climate of the ‘70s, thanks to Sydney Pollack’s tight direction, excellent pacing and outstanding performances from Redford and Faye Dunaway.
“The Way We Were”
Robert Redford and Barbra Streisand, directed by Sydney Pollack, (1973)
Redford pairs up with Barbra Streisand in this poignant love story about a couple who desperately try to make their relationship work, despite political differences.
“The Way We Were” echoes today because it delves into the universal themes of love, loss and the strain of resolving deeply held personal and political differences. The film’s lasting impact lies in its relatability to conflicting values, as they can bring people together while ultimately driving them apart.
“The Candidate”
Robert Redford and Peter Boyle, directed by Michael Ritchie, (1972)
Redford plays an idealistic lawyer who is persuaded to run for an empty U.S. Senate seat. “The Candidate” serves as a classic depiction of a political system that highlights image over substance, a theme that remains profoundly meaningful today in the never-ending cycle of the digital and social media landscape.
“The Candidate” was ahead of its time in illustrating how cameras, television and strategic management can define a candidate’s message. In an era where it seems like everyone is building their ‘authentic’ brand, this satire of curating public personas feels more accurate than ever.
“Downhill Racer”
Robert Redford and Gene Hackman, directed by Michael Ritchie, (1969)
A film from Redford’s up-and-coming years, he plays a skier whose sole goal is to make the Olympics, become a champion and achieve fame. Redford’s character isn’t exactly likable. In fact, he’s self-centered and conceited. Like many ambitious people today, his character can’t explain why he wants to be famous, but he knows what he wants. The quickest way for him to find his 15 minutes is to use his skiing talent to propel him to the Olympic podium.
A look at the “whatever-it-takes” attitude today, of those aspiring for celebrity-like recognition or any type of stardom. This film explores the cost of success, the commercialization of sports, and the capricious nature of the press.