Best Robert Redford-Directed Film

I realize we mean the complete opposite. There are certain films where I just cross a line and have to say, "Enough."

Not sure if I knew this, and if I didn't, really not sure why I didn't figure it out, it's so obvious: according to The Invisible Bridge, Bill McKay in The Candidate is based on Jerry Brown.

(I know--no Michael Ritchie thread.)

Thought The Company You Keep was pretty good in a very old-fashioned, workmanlike way. There's a big scene towards the end between Redford and Julie Christie that's rather pat, and Redford's performance is nothing--really nothing, not even his style of nothing that sometimes worked perfectly in the '70s. But as a gloss on Bill Ayers and Bernardine Dohrn, not bad.

Good Redford career profile (mostly as actor) in Film Comment for quasi-haters like Alfred:

Pollack speaks about their long relationship: “In some ways, he’s been the alter ego for me . . . I believe he’s played the same character [and] I’ve sort of watched that guy grow up and get older . . . He’s really essentially this unpossessable, unattached individualist, who believes there’s some utopian way for him not to have to bend to the needs of a structured society.”

Pollack seems to be speaking about Redford himself as much as the characters he plays; he may have envied the actor’s non-conformism. Still, he was genuinely devoted to his star. “There’s something mysterious about Redford. You have the feeling that, if he had ten dollars, five stays in his pocket. I mean, he would give you five dollars, but he’s not giving you everything; and that, I think, is a great deal of his appeal . . . He’s a withholder.”

He also said: “Redford sometimes gets attacked for not messing himself up . . . but he’s not a character actor . . . You want Redford to be a hero, that’s the way he’s most fulfilling for the audience.” But is it? Hill saw him more as an antihero. Abraham Polonsky, who directed him in Tell Them Willie Boy Is Here (69), perceived something else altogether: “Redford . . . is very good at playing parts where he fundamentally is defeated in everything he wants.” According to Elisa Leonelli, Redford “from a young age was able to see the hypocrisy in American society.”

http://www.filmcomment.com/article/robert-redford-profile

Redford's legacy as a star-producer is likely more significant than as a director .. finally caught up with Downhill Racer tonight, for which he hired James Salter to write and Michael Ritchie to direct (his feature debut).

Of course, Beatty was doing a similar thing already, but on the Downhill Racer Criterion, Redford says his struggles getting it made -- and Paramount ultimately giving it a dump release -- probably led him to starting Sundance.

(RR hired Ritchie late in the game after Roman Polanski left to do Rosemary's Baby)

There were a couple of posts on Truth when it came out--not sure what thread...I'm not even that big on The Insider, and this is several steps in the direction of flat-out deification. Dennis Quaid and Topher Grace very clunky, Elisabeth Moss totally wasted; early on, she's saddled with the "You mean to tell me that the President of the United States..." line. Stacy Keach is good. The best you can say for it is that it kept me interested.

The most recent entry in a lengthening series of films in which Cate Blanchett shakes like an epileptic while swigging white whine.

I didn't really know what to say about her. Sometimes I thought it was a poor performance, sometimes I thought it was just a poorly written character, now and again she'd have an effective moment. Redford was doing Mount Rushmore stuff the whole way.

turned 80 yesterday

Rewatched Ordinary People last night. Sutherland def gives the best performance; even Judd Hirsch (the worst, both the character and his shtick) is OK in his one scene with Don. Hutton is fine and cute, as is Elizabeth McGovern. I can see why Hutton got the part; some of his line readings and physicality reminded me of young Redford.

Some of the editing is nice, especially at the main boring WASP parents party. (I wonder if the funniest line is in the novel, where mom tells grandma that Conrad's shrink is "probably Jewish, maybe just German.")

As for MTM, the movie was sold so much on her SMASHING HER IMAGE that few people noticed that she's a caricature much of the time. Redford cannily uses a couple very brief flashbacks of Beth with her hair down (in love with her husband, and her oldest son) so the audience can say That's Our Mary!

I'm sure someone has written a thesis about how consecutive Oscar winners (this and Kramer vs Kramer) were predicated on father-son bonding enabled by the absence or presence of an indifferent/monstrous mother.

I still have only seen the top 3 finishers in this poll.

also anyone who thinks this is better than Raging Bull is cuckoo for cocoa puffs

Quiz Show - what a great movie, great cast full of character actors, Redford doesn't get in the way of the story, that closeup on Ralph Fiennes' face as the question he knows the answer to is read...

He's okay.

lol

The Legend of Bagger Vance 2

3 more and it would be a five bagger

I’ve seen _Raging Bull_ so many times that I promised myself not to watch it again for the rest of my life

It was Urban Cowboy I was thinking of when I wrote that (also 1980, also had something to do with a bull).

Crouching Tiger, Hidden Dragon: Urban Cowboy, Raging Bull.

It's hard to think of a director with a less exciting body of work overall, and yet the top 2 here are among the best cases for Oscar-friendly MOR filmmaking

How does MTM's performance in Ordinary People stack up next to Flirting WIth Disaster? Avoided it at the time and still haven't seen it.

Her character in FWD would eat her character in OP with lunch and a glass of malbec.

ha!

More interested in what James Brolin's character would've done on Connie's swim team

Connie Selleca?

Connie Sellecca even