Robert Redford and perfection risks
A man, the favorite, blond: this was the job description of Robert Redford, who died on Tuesday, at the age of eighty. On the screen, he and his friend Paul Newman were partners in the crime, at “Batch Cassidy and the Children of Sandans” (1969) and “The STING” (1973), although the crimes were not more evil than practical jokes. Outside the screen, the two men were a good – friendly, sporty, dedicated for decent reasons, and like most major stars, it is difficult to know a little, while keeping something in an attempt to let us hunger for more. Both were homogeneous, also, for the beauty of males, completely alive for almost funny effect on the situation, but satisfied with comfort, from time to time, with their wheels on the base of the statue. “You always wear her clothes properly, you always look well, you always say the right thing. You are almost perfect.” This is how Jin Fonda says to Redford in “Barefred Foot in the Garden” (1967), in which they play newlyweds. “This is a corrupt thing to say,” he answered.
Perfection pressure begins to tell Redford, Paul, who ends drunk, in Washington Square Park, in broad daylight, tends to garbage over himself. Do we really believe in this loss of control? There is an embarrassing thing in his efforts to look strange and brutal. Indeed, in the spring of the Redford career, it appears to be more at home embodying self -approval. His simple role in “War Hunt” (1962) was a special role from the American sector that left his position during the enemy’s attack in Korea and the gathering in the corner of Khanda, its beautiful features that terrorism seized. But such an emotional nudity was fit for Readford, and he knew that. When the Sundance – who was after a contract of “Hunt” – he could not swim, and did not want to jump in the river, the audience understood that his mountain was nothing more than one note, on an amusing key, in a pure melody of the comfortable championship. As the lady said, almost perfect.
Redford Run of Hits at the age of seventy years, including “Jeremiah Johnson” (1972), “The Sting”, “The Way We” (1973), “The Great Gatsby” (1974), “Three Days of Condor” (1975), and “All the President of the President” (1976), indicates a ability to Room via across Genres. The first movie on the Redford list gave a beard, a gun, and a cabin in the Rocky Mountains; The latter took him to the Library of Congress and Washington offices mail. With the instinctive Redford, one of the ways is to secure a spot as the American man in public imagination is to plant yourself in America as much as possible. He exchanged “The Way We Why”, white and a statement of manufacturer for the oppression of Barbra Streisand, for the evening GATSBY. Gradually, Redford turned into the Star – a collective idea of what the pioneering man should do. People hold his image on the walls, as if he were a saint, and welcomed him in the language. “Oh, it’s not Robert Redford,” they will say about some non -subscriber Doofus. Cosmetic critics were powerless, and meaningless, in the face of such a massive design, as they were since the era of Rudolph Valentino. When the actor fascinates, anything, nothing, especially the writer who carries a pen at the point of the ball and bad hair, can be convinced us.
Was there a turning point in stardom in Redford, or is it just the movement of the heavens? If there is, he came with “The Natural” (1984), where the Roy Hobbs-Roy Hobbs played Roy Hobbs played with a mysterious lacunae in his past, which converts the wealth of New York Club, which is struggling. Commercially, the film achieved another success, which indicates that anything that he greatly touches will turn into gold; The problem was that, now, the camera could not help for him To gold, with every touch of light. At its peak, he bleeds from a wound in the old stomach, Hobbes breaks his favorite strike, takes a substitute for the love of love, and strikes at home with his final swing. The ball was shattered in the revealing lights, and Hobbes launches the escape of his victory, in a slow movement, with successive sparks behind it like fireworks. All this, as Roger Ebert indicated in his review, “I idols on behalf of Robert Redford,” all of this.
The film works, no doubt, even at the height of his futility. As a viewer, however, you can feel that you are working on it, but more than shyness than you were in “The Sting”. This position continued to worship towards Redford in “outside Africa” (1985) and beyond, until the next decade; By the time “Up Close & Personal” (1996) and “The Horse Whisper” (1998), it was sometimes difficult to see it in lighting – famous lighting -. Photography managers often treat, if not by the prominent Hollywood script in Hollywood, who ventures in the middle age, they are treated with photography managers, if not by the script book. What is eager to know is what is Redford, which is a smart and reflective spirit, made of such honey compliments. Do you smile and carry it? Do you consider it due? Accept it, with internal sigh, as part of the deal? Or secretly despise his Connivance?
One of the sad ways to follow the Redford career is to track the paths that have not been followed, and placed next to the adventure that his contemporaries and his devices follow. Think of Burt Lancaster, which Luchino Visconti used to play the Sicilian Prince in “The Leopard” (1963), and radiation, even when it is called an Italian name, a bone and without effort. Think of Henry Fonda – Jin’s father, and Like Redford, the straight liberal – who plays a murderous evil role for Sergio Lyon, in “once in the West” (1968). Fonda arrived in Rome with his blue eyes dark with contact lenses, the better it is to transfer the capacity. Lyon immediately told him to remove contacts; he required Swallowing, by contrast. Was Redford, whose eyes were like Sapphirelike, like Fonda, had moved to such a plan?