Artificial romance that chronicles the relationship between “a loudmouthed New York Jew” played by Barbara Streisand and the object of her fascination, a WASP novelist played by Robert Redford. They meet in college in 1940 and political differences ultimately force their separation during the Black List of the early 1950s.

Despite the politics that are used as window dressing for the plot, the movie seems to exist primarily as a box office draw with Streisand & Redford on the same marquee. Streisand’s character seems obsessed with Redford on a purely physical level and everything from there feels superficial.

Overwhelmingly urbane yet phony dialogue (written by Arthur Laurents as an original screenplay, with uncredited work by David Rayfiel) pours from the mouths of what might have been real people in history dealing with real problems.

Supporting characters appear and disappear without any explanation, as if the producer was worried that they would only steal attention away from Streisand. How does Redford’s bland buddy (Bradford Dillman) appear in Hollywood as a film producer? What is Redford’s vapid college girlfriend (Lois Chiles) doing hanging around? Why are all the Hollywood leftists caricatures we could care less were blacklisted?

Even the character names – Redford is “Hubbell Gardner” – scream soap opera. What superficial details we learn about his supposedly brilliant debut novel turned movie – A Country Made of Ice Cream – seem ready made for a comedy. Cue Marvin Hamlisch’s musical score and get me out of here.

Directed by Sydney Pollack, who might have been producer Ray Stark’s choice merely as bait for Redford. The plastic and cliché nature of the movie is worlds away from the texture of They Shoot Horses Don’t They? or Jeremiah Johnson.