[Originally published in slightly different form in Movietone News 66-67, March 1981]
Robert Redford, who is known to exercise a good deal of personal control over the films in which he is involved, has shown a near-manic fixation in recent years with embracing the sociopolitically correct position. In the excellent All the Presidentâ€™s Men as well as such middling efforts as Three Days of the Condor and The Electric Horseman and a downright cheat like Brubaker, the bad guys are shallow, unfeeling, and simply wrong, while the good guys enjoy at least a modicum of emotional depth and sail through the film on the wings of moral rectitude with rarely a serious contradiction or dilemma to confront. There is nothing wrong with simplistic character delineation in film: primitives like Fuller and Leone thrive on it. But Redford passes his work off as serious social realism and congratulates himself for taking a courageous position, while actually keeping the social activist side of his films thoroughly safe.