Robert Redford: The handsome star clearly who changed Hollywood forever Robert Redford

AThe sixties of the last century turned into the seventies, it was not great that the representatives of the stars be a good -looking. The style was more than realistic, immune, and vibrant, smelling sweat, corn, and shlbby. The fashion was for senior men like Jin Hakman, Jack Nicholson, and Woody Allen. Even a very beautiful man like Paul Newman had a kind of rugged quality and daytime light. But Robert Redford was completely different. Here was a very beautiful movie star who went to the guidance and the producer, then the trustee and the gate guard for the American commercial cinema at the Sandans Institute. He was always strange.

When the fans raised by the movie George Roy Hill’s Western Butch Cassidy and Sundance Kid in 1969, they knew that in the distinguished star Redford had almost an attractive man, but he might wear it with Buckskins and Mondache, and played the Sundance Sundance game Devil-May. The sarcastic charisma and gravity shine through. When he cleaned himself for other roles, as one team with Newman in favor of the COPER CAPER The Sting in 1973, the effect was electrical. Robert Redford was cut and throat, he was very handsome, handsomely handsome, and he was handsome on the legs. His image was in the dictionary next to “Wasim”.

In Butch Cassidy and Sundance Kid, Paul Newman may be allowed to entertain Katharine Ross with his exciting exciting works on a bike, to accompany rain drops that keep my head. But it was the Redford blond bomb that was actually having sex with it. Redford was a tremor in the era of Douglas Verbanks and Tiron Power, the Hollywood era of the idols of the preserved trainees, panels and handsome men whose beauty seemed to have been carried out in some Petri Hollywood dishes.

The American cinema works were trying to reputrate some free style in the new French surfing managers-and Redford became, for a while, the match in the new American wave, but with the self-awareness and comic self-end that made it irresistible for women and men. He was a comic performer and had a great taste, but in my opinion, he served him well by dangerous pictures such as The Great Gatsby (1974) in which he played mysterious Bluevistocracy Fitzgerald, or the way we were (1973), where he was a shallow tanner in the love of Barbara Strezand. In those films, for me, it seems that Redford is sometimes retreating to himself, to his own aura, like a very single and beautiful woman.

Its best film at the time is a political spelling Michael Ricci’s wonderful political, a film released in June 1972, 12 days after Watergate stormed. Redford plays the role of Bill Mcai, a young Democratic candidate, ideal for the US Senate, and the film appears to him on the Campaign’s path, which reduces his criteria and relieves his principles as she approaches victory.

The pure means in Redford itself achieves sarcastic quality in the movie; Politics is supposed to show works for ugly people, but the physical beauty of Redford is a symbol of how the ruling class itself – and a symbol of gentle reasonable and times of prevailing political ideas. In all the men of the president (1976), Bob Woodward was to Dustin Hoffmann Karl Bernstein – another “friend” of the type he and two days made in the cinema in the 1970s. It was a hearty liberal movie in which I knew who are the good players, but without the brilliance and the great mystery of the Ritchie.

With the passage of years, there was something under control and preservation of Redford’s performance style, although he remained a star in the A list above the title. He played against the nuclear scene, Merrill Strip outside Africa (1985) and inevitably. In the nineties of the last century, the Romantic introduction in UP was still closely and personally in exchange for Michelle Pfeiffer, while in an inappropriate proposal, the wealthy businessman who made a vibrant “proposal” seemed to have a somewhat fabricated dilemma in which there is no feminist here or there.

But this was the era in which Redford was branching to the direction. Its ordinary population (1980) was the amazing and amazing family tragedy of the top layer of Donald Sarland and Mary Tyler Moore. It was received with great respect at the time, although film critics have never forgiven Redford because of the victory of the Scorsese bull in the best Oscar image. Environmental topics of the Milagro Beanfield War (1988) and a river (1992) were again treated with respect but there was no great excitement.

But Redford achieved great success as a director, with the display of the huge media spelling (1994), the story of the fake television scandals in the fifties of the last century, where Ralph Venice was a talented young academic but a young man by Paul Scoved as his father. This movie was bad at the box office, but it is really good, and it confirms the direction of Redford Vens. One of his best shows on the screen happened from this actor.

But of course, the Sandans Institute and its annual festival of the independent film, which is the real and lasting legacy of Robert Redford, which was built on the ground in the skiing country around Park City, Utah, which bought Redford, and building an institution that manages money and fellowships that help young filmmakers.

Sundance himself came to some criticism these days; It is a festival I heard by encouraging a kind of loud films, from the ghost emotion, without a soul, the lower layer of the lost spirits, which was filmed in respectful colors-equivalent to “Indi”, while the festival is now claiming to be solid in difficult studios in “Indi”, which will get them with super winds.

Well, it does not matter. Who can suspect the wonderful ambition and the imagination of Robert Redford, who invented something that exceeds his huge career? He was always more than a beautiful face.