Nine roles that defined Robert Redford’s… | Little White Lies

Nine roles that defined Robert Redford’s on-screen persona

07 Dec 2018

Words by Elena Lazic

A man with a serious expression, wearing a white shirt and yellow tie, stands in a grassy outdoor setting.
A man with a serious expression, wearing a white shirt and yellow tie, stands in a grassy outdoor setting.
From the Sun­dance Kid to Jay Gats­by, here are some of the Hol­ly­wood icon’s most mem­o­rable characters.

Robert Redford’s role as a sophis­ti­cat­ed and friend­ly bank rob­ber in The Old Man & the Gun spot­lights his leg­endary charm and ele­gance. But the film also makes clever use of the more sin­is­ter, ambigu­ous side of his beau­ty: that it may be a cov­er for less admirable qual­i­ties. Across a career span­ning more than 50 years, Red­ford has con­struct­ed and played with his on-screen per­sona as a beau­ti­ful man who has it easy to var­i­ous effect – whether to seduce, scare, inspire, or sim­ply break our hearts. Here are nine roles which prove he has always been more than just a pret­ty face.

The most obvi­ous point of ref­er­ence for The Old Man & the Gun, the Sun­dance Kid is arguably the role for which Red­ford is best known. In every­thing but charm and occu­pa­tion – that of bank rob­ber – Sun­dance is the oppo­site of his part­ner, the dream­er and dare­dev­il Butch Cas­sidy (played by Paul New­man), a reck­less man who puts a lit­tle too much faith in his own tal­ents as a racon­teur. Despite his com­par­a­tive youth and more obvi­ous charm, Sun­dance is qui­eter and con­tent with the way things are, hap­py to tag along Cas­sidy like a faith­ful dog. Already in this ear­ly stage of his career, Red­ford was toy­ing with assump­tions that could be made about him based on his looks.

Redford’s charm showed its most insid­i­ous angle in this shock­ing­ly bleak and cyn­i­cal film about a can­di­date for the US sen­ate run­ning on guile alone, in order to sat­is­fy a polit­i­cal par­ty that dic­tates his every move. Most fas­ci­nat­ing is the way Redford’s Bill McK­ay slow­ly gives up all moral objec­tions he might have held at the film’s start, reluc­tant­ly accept­ing the fact that a beau­ti­ful, charis­mat­ic white man such as he is can make it in Amer­i­can pol­i­tics with­out doing any work.

Just as Redford’s roles fre­quent­ly empha­sise the unfair ben­e­fits of beau­ty, Bar­bra Streisand shaped her act­ing career around the (frankly ludi­crous) idea that she was not pret­ty enough. From Fun­ny Girl to A Star is Born and The Mir­ror Has Two Faces, Streisand has time and again picked parts which high­light the dis­ad­van­tages of being unat­trac­tive.’ The Way We Were is no excep­tion, and Redford’s decep­tive looks have rarely been so heart­break­ing. We can but watch in hor­ror as Streisand’s Katie comes to realise that Redford’s Hubbell, the man she loves, will nev­er sup­port her polit­i­cal engage­ment, and will for­ev­er remain a shal­low WASP con­tent with the sta­tus quo.

In his fourth col­lab­o­ra­tion with direc­tor Syd­ney Pol­lack, Redford’s good looks and bright smile are those of a man with truth and jus­tice at his side. His joie de vivre and con­fi­dence as brainy CIA ana­lyst Turn­er sharply con­trast the cli­mate of decep­tion he finds him­self embroiled in when mem­bers of the very gov­ern­ment agency he works for attempt to mur­der him. There is noth­ing sus­pi­cious about Red­ford this time – for once, the con­tent ful­ly cor­re­sponds to the pack­ag­ing – and this cohe­sion gives the film a real ener­gy. Nev­er­the­less, he remains at his most fas­ci­nat­ing when play­ing against type.

Who else to play the lone­ly bil­lion­aire Jay Gats­by than Red­ford? The actor excels as a shell of a man emp­tied out by his heart­break, who has long ago learned to hide his sor­row behind his smile and drown his cries in loud par­ties. Red­ford demon­strates his great tal­ent for sub­tle­ty, his face and demeanour almost impos­si­ble to deci­pher, con­stant­ly oscil­lat­ing between raw hon­esty and pure arti­fice. The film itself is notable main­ly for its lav­ish set designs and cos­tumes, and Redford’s strik­ing per­for­mance is one of those that make you wish it sat in a bet­ter film.

Redford’s lib­er­al polit­i­cal engage­ment off-screen has always over­flowed effort­less­ly into his act­ing work and in the roles he has cho­sen. But his inter­pre­ta­tion as Bob Wood­ward, one of the two jour­nal­ists who broke the Water­gate scan­dal, is per­haps his most self-effac­ing. This mat­ter-of-fact film – one of the great movies about inves­tiga­tive jour­nal­ism – lets the sto­ry of this mon­u­men­tal and trans­for­ma­tive event speak for itself with­out flour­ish­es. Redford’s Wood­ward is the qui­eter part­ner to Dustin Hoffman’s Carl Bern­stein, but both actors show a reserve which stands in con­trast to their usu­al­ly more con­spic­u­ous onscreen work, trans­lat­ing both the thrill of detec­tive work and the impor­tance of the events portrayed.

Almost 20 years after The Great Gats­by, Red­ford returned to the role of the lone­ly mil­lion­aire. But John Gage is old­er than Gats­by, and the heart­breaks of his youth have trans­formed into a cold but tran­quil accep­tance that mon­ey is the only thing he can rely on. When Gage makes the out­ra­geous offer to pay a man one mil­lion dol­lars to sleep with his wife, Redford’s seren­i­ty and direct­ness almost makes it sound like a rea­son­able trans­ac­tion, his ele­gance the cher­ry on the cake. The actor lifts the grotesque premise and makes us secret­ly won­der what we would do in those circumstances.

Red­ford has direct­ed him­self in a hand­ful of films, but this adap­ta­tion is the most inter­est­ing pre­cise­ly because of its lack of sub­tle­ty. As such, this roman­tic melo­dra­ma about a woman who falls in love with a mys­te­ri­ous and dash­ing vet­eri­nary doc­tor expos­es very clear­ly the con­scious way in which Red­ford him­self con­structs his own per­sona. Unfor­tu­nate­ly, the overblown exe­cu­tion and sto­ry counter the unde­ni­able grav­i­tas of his act­ing. With an ele­giac’ dial turned up so high, even he can­not pre­vent the film from sink­ing into bathos.

In his more recent work, Red­ford embraces some­thing more elder states­man­like, in keep­ing with his sta­tus not only as vet­er­an actor, but also as a pres­tige film direc­tor and cre­ator of the Sun­dance Film Fes­ti­val. Here, Red­ford plays to this grandiose image, in the role of a lone sea cap­tain who must guide a dam­aged boat through a ter­ri­ble storm. As he silent­ly attends to his ves­sel and moves with the lithe phys­i­cal­i­ty of a much younger man, his pres­ence lends grav­i­tas and the­mat­ic weight to the sim­plest of what if?’ premises.

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