Robert Redford, who has died at the age of 89, was perhaps everybody’s idea of a classical Hollywood movie actor. His conventional good looks – his blond hair, boyish charm and chiselled chin – led him to be cast as a sex symbol and a romantic lead opposite Jane Fonda in Barefoot in the Park (1967), Barbra Streisand in The Way We Were (1973), and Meryl Streep in Out of Africa (1985).
Dustin Hoffman described him as a “walking surfboard”. But the Californian golden boy belied his appearance. No airhead, beneath the surface was a shy and sensitive actor who used his looks to his advantage, insisting on starring in and later directing movies with weight. These included a series of anti-establishment and countercultural films that reflected his anti-corruption and pro-environmental activism.
From the early 1960s through to the 2020s, Robert Redford appeared in some of the most iconic, if unconventional, films of the second half of the 20th century. Those of us born in the late 1960s and early 1970s grew up with Redford. He came to attention as the timid, newly married Paul Bratter in Neil Simon’s Broadway play, Barefoot in the Park, in 1967, before starring in the movie of the same name.
His breakout role was as the titular Sundance in the irreverent and subversive paean to the wild west, Butch Cassidy and the Sundance Kid (1969), beginning what would later be called a bromance with his co-star, Paul Newman. He teamed up again with Newman, a fellow activist, in the Depression-era set The Sting (1973), which led to Redford’s first and only Oscar nomination as an actor.
That same year, he starred in The Way We Were alongside Streisand, who described him as “the blond, suntanned California guy, surfing and riding horses”. Directed by Sydney Pollack, Redford would go on to star in a further six of his films. The director called him “an interesting metaphor for America, a golden boy with a darkness in him”.
Following his liberal instincts, Redford appeared in two of the post-Watergate and post-Vietnam War films that encapsulated the pervasive feeling of distrust and suspicion of the government that followed the administration of Richard Nixon.
In the spy thriller Three Days of the Condor (1975), Redford was an introverted CIA codebreaker caught up in a conspiracy. And in All the President’s Men (1976), he played the real-life Washington Post journalist Bob Woodward alongside Dustin Hoffman as Carl Bernstein as they exposed the Watergate Hotel scandal that helped to bring down Nixon.
The film, which Redford was instrumental in bringing to the screen, was so powerful that it has been credited by some with swinging the presidential election of that year to the Democrat Jimmy Carter.
Redford branched into directing with Ordinary People in 1980, about an upper-middle-class family’s fracturing with grief following their son’s death. The film starred Donald Sutherland and Mary Tyler Moore and won four Oscars, including for best picture and best director, beating Martin Scorsese’s Raging Bull.
Redford’s later efforts were not always as successful, but Quiz Show in 1994, about the real-life scandal of a fixed television game show in the 1950s, received Academy nominations.
Other films he directed showcased his politics. The Milagro Beanfield War (1988), about the fight to protect a small beanfield in a New Mexico village against larger business and political interests, reflected Redford’s own concerns about the environment and land preservation.
His 2007 Lions for Lambs explored the impact of US foreign policy through the intersecting lives of a US congressman (Tom Cruise), a journalist (Meryl Streep) and an academic (Redford) against the backdrop of the war on terror in Afghanistan.
In 2014, Redford even joined the Marvel cinematic universe, starring as US government leader and secret Hydra operative Alexander Pierce in 2014’s Captain America: The Winter Soldier and Avengers: Endgame in 2019. It was a callback to those 1970s paranoid thrillers, especially Three Days of the Condor. This introduced him to a younger generation of fans and audiences most likely unfamiliar with his earlier work.
“The idea of the outlaw has always been very appealing to me. If you look at some of the films, it’s usually having to do with the outlaw sensibility, which I think has probably been my sensibility. I think I was just born with it,” Redford said in 2018.
“I wanted to tell stories about the America that I grew up in. And for me, I was not interested in the red, white and blue part of America. I was interested in the grey part – that’s where complexity lies.”
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Nathan Abrams receives and has previously received external funding from charities and government-funded, foundation or research council grants.
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