Redfords

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Robert Redford died this week at age 89 at his home outside Provo, Utah. The actor, producer and director had been a star for more than 60 years, going back to the 1963 comedy “Barefoot in the Park” and covering an enormously long list of performances in films such as “Butch Cassidy and the Sundance Kid,” “The Hot Rock,” “Downhill Racer,” “The Way We Were,” “The Candidate,” “The Sting,” “Three Days of the Condor,” “All the President’s Men,” “The Electric Horseman,” “The Natural” and many more.

Redford was also an accomplished director, winning an Oscar for his debut “Ordinary People” and going on to make films such as “A River Runs Through It,” “Quiz Show,” “The Horse Whisperer,” “The Conspirator” and others.

In a survey of his career, Amy Nicholson wrote, “To appreciate Redford fully, we have to applaud not only the work he did but the simple, feel-good roles he rejected. He could have become a celebrity without breaking a sweat as the war hero, the jock, the husband, the cowboy, the American ideal made incarnate. Yet, he had the rare ability to sidestep what audiences thought we wanted from him to instead give us something we didn’t know we needed: selfish victors (‘Downhill Racer’), self-destructive veterans (‘The Great Waldo Pepper’) and tragic men who did everything right and still failed (2013’s ‘All Is Lost’).”

Robert Redford at the Film Society of Lincoln Center in New York in 2015.

(Evan Agostini / Invision / AP)

Nicholson added, “Lately, the Redford roles I’ve been thinking about are the ones where his all-American appeal makes us examine all of America, good and bad. The two that instantly jump to mind are his pair of political thrillers: ‘Three Days of the Condor,’ in which he plays a CIA agent on the run from his own co-workers, and ‘All the President’s Men,’ in which he doggedly uncovers the Watergate scandal. Both films believe in the power of getting the truth out to the press; neither is so naive as to think the truth alone will save the day.”

And then there is a whole other side to Redford: his extensive work as an activist on behalf of environmental causes and his founding of the Sundance Institute, which lead to the creation of the Sundance Film Festival.

I took a look at Redford’s work with Sundance and how he did nothing less than transform Hollywood, carving out a space for independent artists and opening doors for those who had been previously shut out by the industry.

“Mr. Redford was a shining example of how to leverage success into community building, discovery and empowerment,” filmmaker Ryan Coogler said in a statement. Coogler’s own career was launched via Sundance.

“In these trying times it hurts to lose an elder like Mr. Redford, someone who through their words, their actions and their commitment left their industry in a better place than they found it.”

Robert Redford and Lauren Hutton in 1970’s “Little Fauss and Big Halsy.”

(Steve Schapiro / Fahey / Klein Gallery)

I personally met Redford only once, when I moderated a Q&A in 2013 for “The Company You Keep,” in which he starred as a former ’60s radical. It would be the last feature film he directed. I was introduced to him shortly before we were to go in front of an audience together and he wanted to sit and talk for a moment. He immediately asked me about myself, where I was from and how long I had been a journalist.

It was thoroughly disarming to have someone so famous engage with me in a way that felt so genuine. Suddenly he was not a movie star, though he did indeed possess an otherworldly grace, charm and rugged beauty, but rather something even larger, someone who engaged with the world from a place of true curiosity. He leaves a lasting legacy, having touched countless lives.

There will surely be many more tributes and events to come, but Vidiots has already announced a screening of Alan J. Pakula’s 1976 “All the President’s Men,” starring Redford and Dustin Hoffman, on 35mm for Friday, Oct. 3.

‘Mysterious Skin’ in 4K

Joseph Gordon-Levitt, left, and Brady Corbet in the movie “Mysterious Skin.”

(Tartan Films)

Seeing the ongoing revival of Gregg Araki’s filmography in restored versions as fans wait for his upcoming film, “I Want Your Sex,” has been very gratifying. Tonight, the Academy Museum will present Araki’s 2004 “Mysterious Skin” in a new 4K restoration followed by a conversation with Araki, actor Joseph Gordon-Levitt and novelist Scott Heim, moderated by “Anora” filmmaker Sean Baker.

“Mysterious Skin” is a delicately told, crushingly disturbing tale of two young men (played by Gordon-Levitt and future “The Brutalist” director Brady Corbet) who each process an incident of sexual abuse from their childhood in different ways. The cast also includes Elisabeth Shue, Mary Lynn Rajskub and Michelle Trachtenberg, who died earlier this year.

Reviewing the film at the time, Kevin Thomas wrote, “The most mature work by the idiosyncratic and gifted Araki, ‘Mysterious Skin,’ based on the book by Scott Heim, highlights the director’s talent for inspiring the most demanding of portrayals from actors and for richly evoking the world his characters inhabit. The film has a mesmerizing floating quality, heightened by Harold Budd and Robin Guthrie’s deceptively serene score, and it has considerable offbeat, deadpan humor to offset its dark undertow. … it’s hard to imagine a more serious or persuasive indictment of the horrors inflicted on children by sexual abuse than ‘Mysterious Skin.’”

I spoke to Araki at the time about the perception that the film was a step toward a new-found maturity following the bratty punk charm of his earlier work.

“I like that it was a real departure for me and that people didn’t expect it,” said Araki. “I really appreciate that aspect of it, that I’ve never done a serious drama before. I do think that the film totally makes sense with all my other movies. There is a thematic similarity and the sensibilities of Scott [Heim] and myself are really attuned to each other. It’s not as if I’ve directed ‘Chicago.’”

J. Hoberman’s avant-garde NYC

An image from Ken Jacobs’ 1961 “The Whirled (aka Four Shorts of Jack Smith).”

(The Film-makers’ Coop)

On Thursday at 2220 Arts + Archives, Acropolis will present an evening in celebration of J. Hoberman’s inspiring and vivid recent book, “Everything Is Now: The 1960s New York Avant-Garde — Primal Happenings, Underground Movies, Radical Pop.”

Hoberman, formerly the longtime film critic for the Village Voice and an insightful cultural chronicler, will be present for a signing and Q&A along with a program of short films from the era surveyed by the book, when New York was a bubbling cauldron of creativity and restless energy. Titles screening will include Ken Jacobs’ 1961 “The Whirled (aka Four Shorts of Jack Smith),” Ron Rice’s 1962 “Senseless,” Michael Snow’s 1964 “New York Eye and Ear Control” and Jud Yalkut’s 1966 “D.M.T.”

In the introduction to his book, Hoberman explains his thesis of creating a snapshot of a time and place — he pays incredible attention to actual addresses, mapping out what was happening where — by saying, “Cultural innovation comes from the margins and is essentially collective. … New York City in the 1960s was one such cradle of artistic innovation. Boundaries were transgressed, new forms created. A collective drama played out in coffeehouses and bars, at openings and readings, in lofts and storefront theaters and ultimately in the streets.”

Points of interest

Joe Dante’s ‘Pirahna’

A scene from the 1978 movie “Piranha.”

(New World Pictures)

It is always heartening to see longtime local hero Joe Dante celebrated. He will be appearing at Vidiots on Friday, this time with his 1978 film, “Piranha.” Made for producer Roger Corman, the movie was obviously one in a series of films intended to capture the excitement and scares generated by “Jaws,” and it certainly accomplishes that, but it is also so much more.

From a screenplay written by John Sayles, who would go on to an illustrious career as a director himself, and with sharp, smart direction by Dante, “Piranha” is about a mutant strain of killer fish engineered by the military and accidentally released into a small community’s waterways.

Writing about the film in 1978, Charles Champlin said, “‘Piranha’ is what it is: a swift, efficient program picture which squeezes the most out of its dollars to squeeze delicious chills from the audience. But it also plays to the attitudes as well as the emotional needs of its young customers. The bad guys are scientists, the military, the police, the politicians (what were we doing in Vietnam?), authority in almost any uniform.”

Writing about the film in 2012, Dennis Lim added, “This was Dante’s first solo directorial outing after several years at Corman’s New World Pictures, where he got his start editing trailers, and it establishes a distinctive tone that he has sustained throughout his career, right on the line between homage and parody. The actors — several, including [Dick] Miller and [Kevin] McCarthy, who would go on to become frequent Dante collaborators — give performances that are once committed and tongue-in-cheek and the effects, in contrast to the sophisticated animatronics of ‘Jaws,’ are charmingly rough and ready.”

Aaliyah x2

Jet Li and Aaliyah star in “Romeo Must Die.”

(Kharen Hill / Warner Bros. Pictures)

As part of an ongoing Y2K Fridays series, the Gardena Cinema is showing a double-bill of movies starring the late singer and actor Aaliyah, with Andrzej Bartkowiak’s 2000 “Romeo Must Die” and Michael Rymer’s 2002 “Queen of the Damned.”

Riffing on “Romeo and Juliet,” the story of “Romeo Must Die” revolves around Jet Li and Aaliyah as members of warring crime families in Oakland who fall for each other.

Kevin Thomas wrote, “Body counts run high in this genre, but ‘Romeo Must Die,’ which marks Li’s first English-language starring role, tries for some depth and sophistication. … The film is a new step for both Li, who hopes to break out with it, and for recording star Aaliyah, in an accomplished film debut.”

Stuart Townsend and Aaliyah in “Queen of the Damned.”

(Jim Sheldon / Warner Bros. Pictures)

Based on one of the novels from Anne Rice’s popular “Vampire Chronicles,” “Queen of the Damned” stars Stuart Townsend as the vampire Lestat, here taking on the guise of a rock star, and Aaliyah as Akasha, the first vampire.

In his review at the time, Kenneth Turan wrote, “As directed by Michael Rymer and with the late rock star Aaliyah in the title role, ‘Queen of the Damned’ turns out to be a muddled limp biscuit of a movie, a vampire soap opera that doesn’t make much sense even on its own terms. Though the previous film based on Anne Rice’s popular novels, the Tom Cruise-starring ‘Interview With the Vampire,’ was far from a success, this brain-dead venture makes it look like a masterwork by comparison.”

It all started with a purchase of land in the 1960s. Then, from that small slice of Utah and the founding of the Sundance Institute in 1981 and, later, its expansion into the Sundance Film Festival, Robert Redford developed a vision that would reshape on-screen storytelling as we know it. Sundance opened doors for multiple generations of filmmakers who might not otherwise have gained entry to the movie business.

Redford, who died Tuesday at age 89, was already a hugely successful actor, producer and director, having just won an Oscar for his directorial debut “Ordinary People,” when he founded the Sundance Institute as a support system for independent filmmakers. His Utah property, named after his role in “Butch Cassidy and the Sundance Kid,” would become a haven for creativity in an idyllic setting.

Evincing a rugged, hands-on attitude marked by curiosity and enthusiasm about the work, Redford embodied a philosophy for Sundance that was clear from its earliest days.

“When I started the Institute, the major studios dominated the game, which I was a part of,” Redford said to The Times via email in 2021. “I wanted to focus on the word ‘independence’ and those sidelined by the majors — supporting those sidelined by the dominant voices. To give them a voice. The intent was not to cancel or go against the studios. It wasn’t about going against the mainstream. It was about providing another avenue and more opportunity.”

The first of the Sundance Lab programs, which continue today, also launched in 1981, bringing emerging filmmakers together in the mountains to develop projects with the support of more established advisers.

The Institute would take over a small film festival in Utah, the U.S. Film Festival, for its 1985 edition and eventually rename it the Sundance Film Festival, a showcase that would go on to introduce directors such as Quentin Tarantino, Paul Thomas Anderson, Nia DaCosta, Taika Waititi, Gregg Araki, Damien Chazelle and countless others while refashioning independent filmmaking into a viable career path.

Before directing “Black Panther” and “Sinners,” Ryan Coogler went through the Sundance Lab at the beginning of his career and saw his debut feature “Fruitvale Station” premiere at Sundance in 2013 where it won both the grand jury and audience awards.

“Mr. Redford was a shining example of how to leverage success into community building, discovery, and empowerment,” Coogler said in a statement to The Times on Tuesday. “I’ll be forever grateful for what he did when he empowered and supported Michelle Satter in developing the Sundance Labs. In these trying times it hurts to lose an elder like Mr. Redford — someone who through their words, their actions and their commitment left their industry in a better place than they found it.”

Chloé Zhao’s debut feature “Songs My Brothers Taught Me” premiered at the festival in 2015 after she took the project through the labs. With her later effort “Nomadland,” Zhao would go on to become the second woman — and still the only woman of color — to win the Academy Award for directing.

“Sundance changed my life,” Zhao said in a statement on Tuesday. “I didn’t know anyone in the industry or how to get my first film made. Being accepted into the Sundance Labs was like entering a lush and nurturing garden holding my tiny fragile seedling and watching it take root and grow. It was there I found my voice, became a part of a community I still treasure deeply today.”

Satter, Sundance Institute‘s founding senior director of artist programs, was involved since the organization’s earliest days. Even from relatively humble origins, Satter could already feel there was something powerful and unique happening under Redford’s guidance.

“He made us all feel like we were part of the conversation, part of building Sundance, right from the beginning,” Satter said of Redford in a 2021 interview. “He was really interested in others’ point of view, all perspectives. At the same time, he had a real clarity of vision and what he wanted this to be.”

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For many years Redford was indeed the face of the film festival, making frequent appearances and regularly speaking at the opening press conference. Starting in 2019 he reduced his public role at the festival, in tandem with the moment he stepped back from acting.

The festival has gone through many different eras over the years, with festival directors handing off leadership from Geoffrey Gilmore to John Cooper to Tabitha Jackson and current fest director Eugene Hernandez.

The festival has also weathered changes in the industry, as streaming platforms have upended distribution models. Steven Soderbergh’s 1989 drama “sex, lies and videotape” is often cited as a key title in the industry’s discovery of the Utah event as a must-attend spot on their calendars, a place where buyers could acquire movies for distribution and scout new talent.

“Before Sundance, there wasn’t really a marketplace for new voices and independent film in the way that we know it today,” said Kent Sanderson, chief executive of Bleecker Street, which has premiered multiple films at the festival over the years. “The way Sundance supports filmmakers by giving their early works a real platform is key to the health of our business.”

Over time, Sundance became a place not only to acquire films but also to launch them, with distributors bringing films to put in front of the high number of media and industry attendees. Investors come to scope out films and filmmakers look to raise money.

“It all started with Redford having this vision of wanting to create an environment where alternative approaches to filmmaking could be supported and thrive,” said Joe Pichirallo, an arts professor at NYU’s Tisch School of the Arts and one of the original executives at Searchlight Pictures. “And he succeeded and it’s continuing. Even though the business is going through various changes, Sundance’s significance as a mecca for independent film is still pretty high.”

At the 2006 festival, “Little Miss Sunshine,” directed by Jonathan Dayton and Valerie Faris, sold to Searchlight for what was then a record-setting $10.5 million. In 2021, Apple TV+ purchased Siân Heder’s “CODA” for a record-breaking $25 million. The film would go on to be the first to have premiered at Sundance to win the Oscar for best picture.

Yet the festival, the labs and the institute have remained a constant through it all, continuing to incubate fresh talent to launch to the industry.

“Redford put together basically a factory of how to do independent films,” said Tom Bernard, co-president and co-founder of Sony Pictures Classics. Over the years the company has distributed many titles that premiered at Sundance, including “Call Me by Your Name” and “Whiplash.”

“He adapted as the landscape changed,” Bernard added of the longevity of Sundance’s influence. “And as you watched the evolution to where it is today, it’s an amazing journey and an amazing feat that he did for the world of independent film. It wouldn’t be the same without him.”

Through it all, Redford balanced his roles between his own career making and starring in movies and leading Sundance. Filmmaker Allison Anders, whose 1992 film “Gas Food Lodging” was among the earliest breakout titles from the Sundance Film Festival, remembered Redford on Instagram.

“You could easily have just been the best looking guy to walk into any room and stopped there and lived off of that your whole life,” Anders wrote. “You wanted to help writers and filmmakers like me who were shut out to create characters not seen before, and you did. You could have just been handsome. But you nurtured us.”

The upcoming 2026 Sundance Film Festival in January will be the last one in its longtime home of Park City, Utah. The festival had previously announced that a tribute to Redford and his vision of the festival would be a part of that final bow, which will now carry an added emotional resonance.

Starting in 2027, the Sundance Film Festival will unspool in in Boulder, Colo. Regardless of where the event takes place, the legacy of what Robert Redford first conceived will remain.

As Redford himself said in 2021 about the founding of the Institute, “I believed in the concept and because it was just that, a concept, I expected and hoped that it would evolve over time. And happily, it has.”

Samantha Masunaga contributed to this report.

Robert Redford, right, and Dustin Hoffman in the movie “All The President’s Men.”

(Sunset Boulevard / Corbis / Getty Images)

Alan J. Pakula’s Watergate drama is remembered as one of the great political thrillers, but for Redford it was a gamble of conviction and clout. He optioned the Woodward-Bernstein book himself, pushing through doubts that a film built on phone calls, door knocks and note-taking could grip audiences. As Bob Woodward he strips away glamour, playing a reporter who is awkward, halting and dogged, yet unshakable once the trail begins to unfold. Opposite Dustin Hoffman’s Carl Bernstein — fast-talking, improvisational, always pushing — Redford is methodical and contained, and together they embody the tension and rhythm of investigative reporting, turning the grind into suspense. With this role, Redford showed that persistence, not bravado, could carry a movie, and that a star could trade charm for credibility without losing magnetism. It cemented his reputation not just as a leading man but as a cultural force who could will serious stories onto the screen. — Josh Rottenberg

HE was the golden boy of Hollywood.

Men envied his obvious friendship with Paul Newman in Butch Cassidy And The Sundance Kid, and almost all his female co-stars adored him.

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In fact, Jane Fonda admitted she couldn’t keep her hands off him on set, while Meryl Streep said he was the “best kisser ever”.

Robert Redford, who yesterday died in his sleep aged 89 at his ranch in Utah, was rejected for 1967 movie The Graduate because no one would ever believe he was a loser with women.

But the handsome star was haunted by nerves and self-doubt that caused him to be endlessly late on set.

As the greatest names in showbiz paid tribute to the blond-haired icon, his representative revealed Redford was “surrounded by those he loved” when he passed away. She added: “He will be missed greatly.”

‘Love of pranks’

In blockbusters such as Barefoot In The Park, The Sting, All The President’s Men, The Great Gatsby, The Horse Whisperer, Indecent Proposal and Up Close And Personal, Redford was box office dynamite.

But the Oscar-winning actor was terrified stardom might turn him into a product for Hollywood studios to sell. He moaned: “Films to them are just like vacuum cleaners or refrigerators. The approach sickens me.”

The megastar even refused to make sequels to his biggest hits, Butch ­Cassidy and The Way We Were with Barbra Streisand.

He hated franchises, but appeared in Captain America: The Winter ­Soldier to please his grandkids.

And he became a champion of independent film-makers, founding the annual Sundance Film Festival to showcase their work.

Born Charles Robert Redford Jr in Santa Monica, California, on August 18, 1936, the actor’s mum was Martha and his dad Charles, a milkman.

His first taste of Hollywood was breaking into a studio as a teenager and trashing the place. He once said: “There was a strong dividing line with a railroad which ran near our house.

“Those who lived on the south side of the tracks, like us, helped to service the big houses on the north side as gardeners, cleaners, whatever.

“My dad would get up to go to work at 2.30 in the morning, come home late afternoon and go to sleep.

“It wasn’t his fault, but it was an inspiration [for me] to do something else with my life.”

Redford’s first plan was to be a baseball star, and he won a sports scholarship to Colorado University.

But he told showbiz writer Garth Pearce: “I was asked to leave because I was drinking too much.”

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His mother Martha had recently died and he turned to alcohol.

After being thrown out of college, he ­travelled to Europe. Redford recalled: “I became a pavement artist in ­Montmartre, Paris, and felt my life had begun at last. I had found my calling.

“Then I moved to Italy, where they openly laughed at my art. Eventually, I was told flatly that I would never make it or sell any paintings.”

So he moved back to New York and tried his hand at acting classes, enrolling at the American Academy of Dramatic Arts.

He said: “Suddenly, I was getting A-grade reports for the first time. I had failed at school, failed at university, failed as an artist. I thought, ‘There could be something in acting for me’. It was as simple as that, with no great calling.”

He couldn’t play a loser because of the way he looked

Director Mike Nichols

He began to get work, first on stage in New York and then in a succession of small-screen shows, such as ­Maverick, Perry Mason and Dr Kildare as TV boomed across America.

His movie breakthrough came opposite Jane Fonda in 1967’s Barefoot In The Park. She remembers: “I couldn’t keep my hands off him. I was ­constantly forcing myself on him.”

Redford auditioned for The ­Graduate, alongside Anne Bancroft as middle-aged Mrs Robinson.

But director Mike Nichols turned him down, recalling: “He couldn’t play a loser because of the way he looked.

“I told him so and he was dispirited. I said, ‘Look at it this way, ‘Have you ever been turned down by a woman?’. He replied, ‘What do you mean?’. I said, ‘My point precisely’.”

But his next part, The Sundance Kid, alongside Paul Newman as Butch Cassidy, would change Redford’s life forever. As they filmed the 1969 hit movie, he and Newman became best mates — bonding over Mexican beers and a love of pranks.

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Redford was a terrible time-keeper and, at the end of filming — during which he did his own stunts — ­Newman presented him with a tapestry cushion that read, “Punctuality is the courtesy of kings”.

For Newman’s 50th birthday, Redford sent him a wrecked Porsche wrapped in a bow. Newman had it crushed and sent back to his pal. Redford then had it turned into a garden sculpture and returned it.

Despite their 40-year friendship, Newman admitted he never really came to know Redford.

Even though Butch Cassidy was a huge success, Redford, a keen environmental campaigner, was still gripped with doubts about his ability.

He admitted: “I actually quit in the late Sixties, after appearing in some big films. It was not reported at the time but I took my family to a remote part of Spain. I attempted once again to make my living as an artist. But I was not good enough.”

By 1973, The Sting, in which he was reunited with Newman, gave him his only Best Actor Oscar nomination.

‘Not good enough’

His blond hair became his ­signature and he refused to have it cut in a 1940s style for 1977 war film A Bridge Too Far.

Director Sir Richard Attenborough asked him personally to get a short back and sides, but was forced to admit: “It’s no use. He just won’t have it touched.”

Redford once asked angrily: “What is it about my hair? I played Jay Gatsby in The Great Gatsby in 1974 and the director Jack Clayton wanted to dye my hair black.

“Even the studio wanted my hair black. I said, ‘Find me the part of the original book where it says that Gatsby’s hair is black. It’s not there’.”

Irritated by filmmakers, he decided to direct a movie of his own.

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Ordinary People, which came out in 1980, became one of the most acclaimed films of the decade and won him the only Oscar in his glittering career, for Best Director.

His hits dominated the Eighties and Nineties, with Out Of Africa alongside Meryl Streep winning seven Oscars, including Best Picture.

He directed A River Runs Through It starring a young Brad Pitt, Quiz Show and The Horse Whisperer, in which he also played the lead.

It was really hard . . . as a parent, you blame yourself. It creates a scar that never completely heals

Robert Redford

In between, he starred in Indecent Proposal as a millionaire who offered a married couple $1million if wife Demi Moore slept with him.

There was also romance in Up Close & Personal with Michelle Pfeiffer. But alongside great career success he suffered family tragedy.

His son Scott, who he had with first wife Lola, was a victim of cot death in 1959 at just two months.

The actor said: “It was really hard . . . as a parent, you blame yourself. It creates a scar that never completely heals.”

His second son, Jamie, who ­suffered constant ill health and underwent two liver transplants, died from cancer aged 58 in 2020.

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And eldest daughter Shauna ­witnessed the murder of her long-term boyfriend at university.

Redford told Garth Pearce: “All that personal stuff with my children meant some tough times. When you’re going through it, you lose part of yourself. I confess that I used work to prop me up.”

The Hollywood legend produced and directed films right into his 80s.

His final performance was an uncredited cameo earlier this year as a chess player in Dark Winds, a TV show he executive-produced. Redford officially retired from ­acting in 2018.

Redford is survived by second wife Sibylle, some 21 years his ­junior, who he married in 2009, and daughters Shauna, 64, and Amy, 54, from first wife Lola, who he divorced in 1985.

He said of his success: “The key to sanity in Hollywood is to have a life separate from movies and to never repeat yourself on film by doing a sequel.

“I lost my way and my focus ­several times. Having to deal with life, death, illness and catastrophe puts anyone to the test. Movies and acting was never my first love, but it was an enduring one.”