Word: redfords
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Dates: during 1990-1999
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...coincidence that both candidates are running less on what they will do than on who they are. Riding home on Air Force One two weeks ago, Clinton chatted off the record for nearly two hours on everything from the new Redford movies, the pitfalls of instant information, the prospect of living past 100, the importance of cheap vacations to American culture, global warming, peach cobbler and the NCAA basketball playoffs...
When Robert Redford bought the screen rights to All the President's Men, he had little idea of the snags that lay in store. One was his hiring of Butch Cassidy and the Sundance Kid scriptwriter William Goldman, who put emphasis on off-color newsroom humor. The move caused an uproar: "The Post nearly backed out of the project then, and [Executive Editor Benjamin C.] Bradlee was blunt with Redford. 'Just remember, pal,' he said, 'that you go off and ride a horse or jump in the sack with some good-looking woman in your next film...
...GLIDING THROUGH SLAM-glam media roles--senatorial wannabe in The Candidate, screenwriter in The Way We Were, hotshot reporter in All the President's Men--Robert Redford gave some people the idea that he had missed his true calling: anchorman! He had it all: the authority and irony, the requisite twinkle. That craggy charisma would have sat smartly behind a Formica desk. But then news imitated art: the networks created their own lower-wattage Redfords in Brokaw, Jennings, Stone Phillips. And now, when Redford finally gets into a TV-news movie, he's nearly 60, too old to begin...
Very loosely based on the rise of news reader Jessica Savitch, the script by Joan Didion and John Gregory Dunne sends Sally Atwater (Pfeiffer)--all elbows and naked ambition--into a Miami TV newsroom presided over by Warren Justice (Redford), who ankled the network scene because he was too darned independent. Sally, later called Tally, is raw but cunning and learns quickly; best of all, in the tyranny of telegenics, "she eats the lens." Soon she has the coolest gig in journalism: asking hard questions of politicians by day, having Robert Redford massage her feet at night...
...purports to be fresh and skeptical, the movie is really as old as A Star Is Born, from the early fumbling of the ingenue to her Mrs. Norman Maine speech at the end. It's one more essay on Hollywood's favorite subject: star quality. That's something Redford and Pfeiffer have in their back pockets. They can also act, though they don't have to here--for in this film, as in some TV news, the look is more important than the feeling. "Hair is character," says a woman in the movie, and director Jon Avnet seems to agree...