In an exclusive from her memoir, the legend talks about Robert Redford (“great teeth”) and the scenes Sydney Pollack should never have cut.
Producer Ray Stark initially approached Arthur Laurents to write a project for me, inspired by the success of The Sound of Music and The Miracle Worker. Arthur wasn’t enthusiastic about the idea of me teaching handicapped children in Brooklyn to sing, and neither was I. Our conversation shifted to politics, and Arthur remembered a passionate, politically active Jewish girl he knew in college, Fanny Price. This inspired him to write a treatment about Katie Morosky, which I loved immediately. Katie’s passion and concern for the world deeply resonated with me.
Arthur suggested Sydney Pollack to direct, noting his sensitivity to actors. I had seen Sydney’s serious films and agreed. I envisioned Robert Redford as Hubbell. Though not my usual type, I found his complexity and restraint intriguing. However, Redford initially turned down the role, feeling the script focused too much on Katie and left Hubbell underdeveloped.
Sydney and I were persistent because we believed only Redford could make the film work. Sydney, being close friends with Redford, was our best hope to persuade him. Redford’s concern was that Hubbell was shallow and one-dimensional, merely an object in the script.
Barbra felt an immediate connection to the script of The Way We Were, which led to a strong desire to cast Robert Redford as Hubbell. Despite initial reluctance from Redford, Sydney Pollack’s persistence and Barbra’s willingness to enhance Hubbell’s character led to Redford’s eventual agreement.
The on-screen chemistry between Barbra and Redford stemmed from their genuine curiosity about each other. Their rapport and understanding of each other’s acting styles made their scenes compelling and believable.
Filming commenced in September 1972, with Barbra feeling deeply connected to her character, Katie Morosky. She identified with Katie’s idealism and insecurities, which mirrored her own experiences growing up. Barbra’s personal items were even used for Katie’s costumes.
The pivotal scenes between Katie and Hubbell, including their intimate moments, were challenging for Barbra due to her private nature. However, Sydney Pollack’s direction and Redford’s performance helped create authenticity and emotional depth in these scenes.
Overall, Barbra’s involvement in The Way We Were was marked by her dedication to the character, her collaboration with Redford and Pollack, and her desire to portray complex emotions on screen.
Barbra cherished certain scenes in “The Way We Were,” particularly the telephone call scene. She found it deeply moving and didn’t need preparation or rehearsals to emote. However, she regretted her performance’s lack of restraint and felt that Sydney Pollack should have guided her differently to enhance the scene’s impact.
Arthur Laurents, the screenwriter, expressed dissatisfaction with how Sydney handled certain scenes, believing that Barbra’s emotional moments weren’t fully realized. Arthur felt that the balance between Barbra’s character, Katie, and Redford’s character, Hubbell, should have been more equal to truly convey their relationship’s complexity.
Despite these criticisms, Barbra enjoyed working on the film, especially the playful moments with Redford and the party scene where they dressed as Marx Brothers. She also appreciated the film’s serious themes, such as the impact of blacklisting during the Hollywood Communist witch hunts, a topic personally relevant to Arthur Laurents.
Overall, while Barbra valued her experience working on “The Way We Were,” she reflected on missed opportunities to enhance certain scenes and wished for a different approach in portraying Katie’s emotional journey.
Barbra Streisand recounts her disappointment with the edits made to “The Way We Were,” particularly the removal of crucial scenes that she believed were pivotal to the story’s depth and impact.
One scene cut involved Katie witnessing a student’s speech on campus, evoking memories of her past activism and leading to an emotional breakdown. Another important scene revealed betrayal by an old acquaintance, prompting Katie to reassess her marriage with Hubbell and make a difficult decision to protect him.
These scenes were integral to understanding Katie’s character and the challenges she faced, both personally and politically. Their removal, along with other cuts, altered the narrative’s coherence and weakened the film’s overall impact. Despite the film’s success, Barbra felt that something vital was missing, leading her to reflect on the importance of creative control in future projects.
It seems like Barbra Streisand felt a mix of emotions during the awards ceremony for “The Way We Were.” She was relieved when her name wasn’t called for an award, as she felt embarrassed about crucial parts of her performance being omitted from the film. Despite this, she acknowledged the success of the movie’s theme song, which won several awards and became iconic.
Streisand reminisced about the final scene of the movie, where Katie and Hubbell have a bittersweet reunion, capturing the essence of their past love and the changes in their lives. The touching moment, accompanied by Marvin Hamlisch’s music, resonated deeply with audiences.
Reflecting on the film’s legacy, Streisand expressed gratitude for its recognition as a classic love story. She hoped that the 50th-anniversary reissue would include the restored missing scenes, not just for her satisfaction but for the fans who cherished the film.
Barbra Streisand’s journey to restore the missing scenes in “The Way We Were” reads like a testament to her dedication and love for the film. From the onset, it’s evident that she felt a deep sense of responsibility, not just to herself but also to the characters of Hubbell and Katie, and even to Arthur’s original vision.
The desire to include the scenes she felt were pivotal to the story, such as Katie’s political speech and her heartfelt dialogue with Hubbell in the projection room, was more than just a creative choice—it was about preserving the essence of the characters and their relationship. Streisand’s commitment to staying true to Arthur’s script and the emotional complexity it brought to the narrative is palpable throughout her recounting.
Her interactions with Tom Rothman, where she passionately advocated for the extended version while acknowledging the importance of the original cut, reflect her respect for the film’s legacy while also embracing the opportunity to offer viewers a more comprehensive experience. The eventual approval to include the extended version in the Blu-ray release and the joint iTunes release is a testament to her perseverance and unwavering belief in the importance of these scenes.
In the end, Streisand’s efforts not only honor the original intent of the film but also provide a new generation of viewers with the chance to see “The Way We Were” as it was meant to be seen—a timeless love story enriched by its depth and complexity. Her dedication and refusal to give up on this endeavor mirror the resilience and strength of the characters she brought to life on screen.
