By Dennis Hartley
(Originally posted on Digby’s Hullabaloo on September 16, 2025)
Getting old sucks. The reasons for that are myriad; not least of which is watching the icons of your youth diminish and go into the West (forgive the Tolkien reference).
Yes, Robert Redford was 89 years old, which doesn’t make news of his passing a complete shocker, but this one hurts (hurts even more these days to lose the good people).
He was “a movie star” in a traditional Hollywood sense; gifted by the gods with matinee-idol looks, which he viewed as a curse of sorts. He demonstrated that he was more than just a pretty face with a lifetime of off-screen philanthropy and activism. Still, it could be a tricky juggling act. From The Hollywood Reporter:
Behind the California-kid surface was a darker and more complicated figure. The very definition of a Hollywood star, he nonetheless saw himself as an outsider and spent much of his time living away from the epicenters of the industry — including at the Utah skiing resort that he turned into the Sundance Institute and the Sundance Film Festival.
He bestrode two worlds, his biographer, Michael Feeney Callan, wrote in 2011: “His life [was] peripatetic. He engaged [in] careers on the East Coast and West. It may not be a coincidence that his arts laboratory — his ‘great experiment’ [Sundance] is not too many miles from Promontory Summit, where, in 1869, the golden spike was hammered that joined the East Coast and West on the transcontinental railroad.”
[…]
He became a passionate environmentalist and supporter of Native American and LGBTQ rights and remained that way throughout his life. In 2018, he published on the Sundance website a lament about the state of America titled, “A Brief Statement About Big Things.”
That’s why the tributes are not coming solely from members of the film industry. New Mexico’s Governor Michelle Lujan Grisham issued this statement earlier today:
I join all New Mexicans in mourning the loss of Robert Redford, whose deep connection to our state left an indelible mark on its cultural and environmental landscape.
Redford’s 1988 film “The Milagro Beanfield War,” filmed in Truchas, captured the heart of New Mexico’s rural Hispanic communities with authentic dignity. The story of ordinary people standing up to powerful interests accurately reflected our state’s values and history. As executive producer of AMC’s popular “Dark Winds” television series, Redford similarly captured New Mexico’s culture in an authentic manner. In 2010, Redford launched a workshop for training Hispanic and Native American filmmakers at Los Luceros in Espanola.
Redford was also a powerhouse advocate for New Mexico’s film tax credit program, helping to spread the word across the film industry about New Mexico’s spectacular landscapes, rich culture, and committed workforce as major assets to filmmakers. His advocacy helped transform New Mexico into a major filmmaking destination, bringing economic opportunities to communities statewide.
As a part-time Santa Fe resident and lifelong environmental champion, Redford understood that New Mexico’s natural beauty required protection. His conservation efforts aligned with our state’s environmental consciousness and commitment to preserving New Mexico’s majestic high desert landscapes.
Redford elevated New Mexican voices to the national stage, showing the world the depth and complexity of our communities. He used his influence to illuminate the authentic stories of the people he chose to call neighbors.
His legacy endures in every film that honors New Mexico’s stories, in his conservation work that protects our landscapes, and in the tradition of artists who understand that great art serves both beauty and truth.
Robert Redford will be remembered as an artist, activist, and friend to New Mexico.
Just another one of those busybody Hollywood Lefties.
As for his film legacy…the work speaks for itself. When I was 13, I became a lifelong Redford fan when (like many of my generation, I’d wager) I first became aware of him in a little “buddy movie” you may have heard of. As I wrote in my 2008 tribute to Paul Newman:
As I was getting ready to go work out at my health club early this morning, I was flipping through the cable channels, and came across “Butch Cassidy and the Sundance Kid”. (I hadn’t heard the news yet). It’s one of those personal favorites that I always get sucked into, no matter what scene I happen upon.
In this case, I tuned in just as Butch, Sundance and Etta were disembarking at the train station in Bolivia. I love that scene (“Aw…he’ll feel a lot better after he’s robbed a couple of banks!”). So there I sat, giggling as if it wasn’t the 250th time I’d watched the film, for 15 minutes before I realized, “Oh yeah, I was just headed out the door.”
Redford doesn’t have a lot of lines there, yet he nearly steals the whole scene with a smile and a wave. Now that’s charisma. Not unlike Newman, Redford was one of those actors who made it all look so easy; you couldn’t detect the “method”, as it were. He “inhabited” his characters, and you never doubted that you were observing a real flesh-and-blood human being up on that screen.
Redford proved to be just as much of a natural working behind the camera; he picked up Best Director and Best Picture Oscars for his outstanding 1980 directing debut Ordinary People (also recommended: The Milagro Beanfield War, A River Runs Through It, and Quiz Show).
As for Redford’s acting roles, the two films you simply must see before you die are the aforementioned Butch Cassidy and the Sundance Kid (directed by George Roy Hill) and Alan J. Pakula’s 1976 journalism thriller All the President’s Men. You also can’t go wrong with Stuart Rosenburg’s 1980 prison drama Brubaker, Barry Levinson’s 1984 baseball drama The Natural, and Sydney Pollack’s 1973 romantic drama The Way We Were. And for a sampling of Redford’s less-utilized comic chops…I recently saw Barefoot in the Park on TCM, Gene Saks’ 1967 adaptation of Neil Simon’s stage play; I hadn’t seen it in decades and had forgotten about the wonderful chemistry between Redford and Jane Fonda. It’s really a lot of fun.
And here are a few more of my Redford favorites. Rest easy, Sundance.
The Sting – George Roy Hill’s caper dramedy is pretty fluffy, but a lot of fun. Paul Newman and Robert Redford reunited with their Butch Cassidy and the Sundance Kid director in this 1973 star vehicle to play a pair of 1930s-era con men who set up the ultimate “sting” on a vicious mobster (Robert Shaw) who was responsible for the untimely demise of one their mutual pals.
The beauty of screenwriter David S. Ward’s clever construction is in how he conspiratorially draws the audience in to feel like are in on the elaborate joke…but then manages to prank us too…when we’re least expecting it! The film picked up Oscars for Best Picture, Director, Original Screenplay (David S. Ward), Art Direction, Costume Design, Film Editing, and Scoring. Redford was nominated for Best Actor.
The Candidate -This 1972 gem from Michael Ritchie (Downhill Racer, Prime Cut, Smile) centers on an activist lawyer named Bill McKay (Robert Redford) wooed by a slick Democratic political consultant (Peter Boyle) into challenging a three-term Republican California Senator for his congressional seat.
The idealistic and progressive McKay is initially reticent, as he does not want to be perceived as trading in on his family name (his father is a former governor). Assured that he can set his own agenda, say whatever he wants, and is almost guaranteed a victory due to the lack of Democratic challengers, McKay accepts the offer to run.
But you know what they say…if it sounds too good to be true, there’s usually a catch. In this case, it’s McKay’s realization that in the rough and tumble world of politics, the true path to victory is inevitably littered with a discarded ideal or two (compromise, compromise, compromise).
The perceptive, wryly satirical screenplay earned an Oscar for Jeremy Larner (his experience as a speechwriter for Eugene J. McCarthy on the Senator’s 1968 campaign undoubtedly contributed to the film’s air of authenticity). Redford and Boyle are outstanding, and ably supported by a wonderful ensemble that includes Melvyn Douglas, Don Porter, Allen Garfield, and Karen Carlson.
Three Days of The Condor – Sydney Pollack’s 1975 “conspiracy a go-go” thriller, which was adapted by Lorenzo Semple, Jr. and David Rayfiel from James Grady’s novel “Six Days of the Condor”, puts a unique twist on the idea of a government-sanctioned assassination; here, you have members of the U.S. clandestine community burning up your tax dollars to scheme against other members of the U.S. clandestine community (there’s no honor among conspirators, apparently). Robert Redford, Faye Dunaway, Cliff Robertson and Max von Sydow head an excellent cast. The film conveys the same dark atmosphere of dread that infuses The Conversation and The Parallax View.
Downhill Racer – This underrated 1969 gem from director Michael Ritchie examines the tightly knit and highly competitive world of Olympic downhill skiing. Robert Redford is cast against type, and consequently delivers one of his more interesting performances as a talented but arrogant athlete who joins up with the U.S. Olympic ski team. Gene Hackman is outstanding as the coach who finds himself at loggerheads with Redford’s contrariety. Ritchie’s debut film has a verite feel that lends the story a realistic edge. James Salter adapted the screenplay from Oakley Hall’s novel The Downhill Racers.
The Hot Rock– Although it starts out as a by-the-numbers diamond heist caper, this 1972 Peter Yates film delivers a unique twist halfway through: the diamond needs to be stolen all over again (so it’s back to the drawing board). There’s even a little political intrigue in the mix. The film boasts a William Goldman screenplay (adapted from a Donald E. Westlake novel) and a knockout cast (George Segal, Robert Redford Zero Mostel, Ron Leibman, Paul Sand and Moses Gunn). Redford and Segal make a great team, and the film finds a nice balance between suspense and humor.
Previous posts with related themes: