Condemn It. Don’t Con It.
Pollack’s romance isn’t objectifying the characters but personifying the deeds. This ultimate duo of Redford and Pollack may have gotten a better start from here. But still they clearly have a lot more area to cover than they evidently anticipated. Before anything starts, the high voltage electricity charges the film that boosts us to mug up this malleable ideology easily. The director Sydney Pollack has always fabricated the love factor as an enormous attractive electric charge rather than as one sensual act. He teases his characters and you yourself are feeling being teased, it is an old familiar game, but it works most of the time.
As far as the structure and storyline is concerned, there isn’t much to devour beyond a basic family drama ensuing chaos as basic “right to choose” conflict rises. And if thought about it, Pollack isn’t even worried about that section. All his guns are directed towards amplifying this brief “honeymoon” period of our lead characters. And the witty adaptation helps immensely to pull off this theory. The film relies upon long sequences, where it basically is jumping from one antic to another.
The performance is another major factor, where before Robert Redford and Natalie Wood hypnotizes you, attention seeking Mary Badham steals the show with her silliness. Redford as the outsider, ought to be and is a mysterious reserved force that serves its purpose decently. Natalie Wood as the flawed bratty gregarious natured hip gal is the clear winner in the battle among these A list stars. There is genuine calmness in her loud chaotic body language, Pollack wisely offers her room to express it clearly when she isn’t allotted any words and is just told to carry out mundane activities. This Property Is Condemned, it better be or we are practically just reading between the lines.