It’s hard for a costar to stay in the same ring with her.”Īccording to Pollack, only Redford could go toe-to-toe with the star. “She has a tendency to take over a picture, just by the size of her talent and larger-than-life presence. “Barbra had never worked with a really strong leading man,” Pollack said. The “whole concept of basing a movie on Barbra as a serious actress,” per Pollack, proved to be a pivotal factor for Redford, while Streisand and the director were determined to get Redford to commit to the role, despite the studio and producer Ray Stark pushing for Ryan O’Neal. Martin Produce '70s Navajo Detective Dramaįrom 'Nymphomaniac' to 'Little Ashes': Unsimulated Sex Scenes in 38 FilmsĢ3 Controversial Film and TV Book Adaptations That Rankled Their Audiences and Authors 'Dark Winds' Trailer: Robert Redford and George R.R. ![]() Upon reconciling with Hubbell and his friends after college, they all remark on her coiffure having altered in style: “You have your hair ironed? Does it hurt?” (I mean, the answer is probably ‘yes’, as straightening your hair when it’s at a Morosky level of unmanageable is practically akin to torture.) During the film’s infamous final scene, in which we see ex-spouses Katie and Hubbell bump into one another after years of separation, our heroine has finally cast the straighteners aside and embraced her natural Jew-curls proudly demonstrating true self-acceptance and that she requires no further validation from the man who still remains the love of her life.Redford was particularly concerned with the “Funny Girl” Oscar winner’s musical background, saying, “She’s not going to sing, is she? I want her to sing in the middle of the movie.”Īs Sundance Faces Cutbacks, the Directors Lab That Launched Tarantino and Zhao Holds On The strongest representation of her identity is a head of naturally thick and frizzy curls, which she has regularly smoothed out in a Harlem salon. “A loud mouth Jewish girl from N.Y.C.” and her “beautiful goyishe guy”, she quips. Katie Morosky is an unapologetic Jewess: from her infinite neuroticism and extensive anxiety caused by a pot roast, to agonising over whether or not she meets Hubbell’s gentile standards for beauty. ![]() Develop a complex relationship with hair straighteners But aside from a comprehensive history lesson, we can also acquire some important life skills in how remaining faithful to your convictions in the face of romantic infatuation is one of the fiercest forms of activism. Set in the 1930s and 1940s, with costumes remaining suspiciously 70s throughout, the story of Katie and Hubbell’s tumultuous will-they-won’t-they relationship unfolds through a series of flashbacks to the misty, water-coloured corners of Katie’s mind.įrom the Francoist regime to McCarthyism, director Sydney Pollack profusely references political moments past throughout the film. Now, protest is very necessary.”Ī filmic portrayal of these political leanings is demonstrated no finer than in the 1972 romantic drama The Way We Were, with Barbra Streisand playing Katie Morosky, an intensely vociferous communist Jewish girl who falls in love with affluent and WASPY naval officer Hubbell Gardener (characterised by unmitigated heart-throb Robert Redford). As Mrs Prada said after the show, “I didn’t want to do the 70s… but it came out naturally – it was an important moment for protest, for humanity. The manifestation of Miuccia’s placard-waving past took contemporaneous form on the runway via camel corduroy suiting, Baader-Meinhof berets and polychromatic knitwear that looked so authentically ‘lefty’, it could have comfortably been worn by a young Jeremy Corbyn himself. “One of the stories often told about Mrs Prada is that, while a student in the 1970s, she was a card-carrying member of the Italian Communist party,” writes AnOther’s Olivia Singer in her review of Prada’s politicised A/W17 menswear and womenswear pre-collection.
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