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This article is a critical review of the 1973 film The Way We Were by Miles Mathis. Mathis revisits the film due to boredom and nostalgia, and in response to a reader’s comment about Barbra Streisand’s character being a Communist. He acknowledges that both Streisand and Robert Redford have become politically problematic in their later years.

Mathis finds the film watchable, noting that neither character is “despicable” as in modern films. He identifies Streisand’s character, Katie, as the idealist and Redford’s character, Hubbell, as the realist. He personally sides with Katie, finding Hubbell to be a “shallow jerk” for cheating on her while she was pregnant and then leaving her after the birth. The reviewer argues the film fails to take a clear stance, aiming for audience sympathy towards both leads. He labels it a “chick flick,” recalling his mother enjoyed it while his father disliked it.

Mathis then delves into a controversial scene where Katie initiates sex with a drunken Hubbell, noting it’s “perilously close to rape by a female” and questions the double standard in its portrayal.

The main focus of the article shifts to Mathis’s speculation about the actors’ Jewish heritage and sexuality. He challenges the film’s implication of a Jewish/Gentile dynamic between Streisand and Redford, asserting that Redford, despite his appearance, is likely Jewish based on his lineage traced through Scottish and Welsh ancestry. He dismisses the notion of Redford being a Gentile, citing his family names and historical connections. Mathis claims Redford’s father was not a milkman as portrayed, suggesting a fabricated backstory.

He argues that the lack of chemistry between Streisand and Redford is the true issue, not their supposed Jewish/Gentile differences. Mathis attributes this to their alleged gay sexuality, noting that Redford’s apparent lack of attraction to Streisand in the film is a key indicator. He draws attention to Redford wearing a large silver chain bracelet, which he believes is a “love bracelet” often worn by gay men, also noting Marlon Brando wore a similar bracelet in A Streetcar Named Desire.

Mathis further speculates about Streisand’s family background, listing several Jewish surnames associated with her. He questions the validity of her alleged romantic relationships with prominent actors and politicians like Richard Gere, Cary Grant, Bill Clinton, Clint Eastwood, Don Johnson, Elliott Gould, and James Brolin. He specifically calls Elliott Gould “gay,” citing his role as Ross and Monica’s father in Friends and the fact that his son with Streisand is gay.

He concludes that the “tepid and icky” kisses between Redford and Streisand are due to their alleged gay relationships. Mathis expresses his frustration with “lies” in Hollywood regarding actors’ backgrounds and sexuality, finding the portrayal of gay men kissing lesbian women on screen “false and icky” and detrimental to modern sexuality. He questions the overrepresentation of gay and Jewish individuals in Hollywood, suggesting it’s an excessive and possibly conspiratorial phenomenon.

Summary with Marked Entities:

This article reviews the film The Way We Were, examining its characters and the actors Barbra Streisand and Robert Redford. The author, Miles Mathis, revisits the film due to nostalgia and in response to a reader’s comment. He criticizes Streisand and Redford for their current political stances, calling them fascist sympathizers.

Mathis finds the film watchable, contrasting it with modern cinema where characters are often “despicable.” He identifies Streisand’s character, Katie, as an idealist and Redford’s character, Hubbell, as a realist. He identifies more with Katie, finding Hubbell a “shallow jerk” for his actions, particularly cheating on her while pregnant and leaving her after birth. He notes the film’s neutral stance, aiming for audience sympathy for both. He labels it a “chick flick,” recalling his mother’s positive and his father’s negative reaction.

A sexually suggestive scene where Katie initiates sex with a drunken Hubbell is highlighted, with Mathis questioning the potential double standard and calling it “perilously close to rape by a female.”

The article then shifts to Redford and Streisand’s personal lives and perceived ethnicities. Mathis disputes the film’s implied Jewish/Gentile divide, arguing Redford is likely Jewish based on his ancestry traced through Scotland and Wales, connecting him to families like the Campbell, Swift, and Walker lines, and even to William the Conqueror and Phoenician rulers. He questions the narrative of Redford’s father being a milkman, suggesting a fabricated backstory.

Mathis asserts the lack of chemistry between Streisand and Redford is due to their alleged gay sexuality, not their Jewish/Gentile status. He points to Redford’s bracelet as a possible indicator of gay identity, drawing parallels to Marlon Brando in A Streetcar Named Desire. He also lists several Jewish surnames linked to Streisand’s family, including Keston, Cohen, Feldman, Dvorak, Rosen, and Kholevich. He expresses skepticism about her past relationships with figures like Richard Gere, Cary Grant, Bill Clinton, Clint Eastwood, Don Johnson, Elliott Gould, and James Brolin, noting Gould’s perceived gay persona and his son with Streisand being gay.

The author concludes that the film’s kisses are unconvincing due to the actors’ alleged gay relationships. Mathis voices his annoyance with Hollywood’s “lies” about actors’ backgrounds and sexuality, finding the portrayal of gay men with lesbian women “false and icky.” He criticizes the perceived excessive presence of gay and Jewish individuals in Hollywood, suggesting a possible agenda behind their overrepresentation.

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