Jeri notes the difficulty of identifying the time period of The Way We Were. Not because it was timeless but because the era in which it was made overpowers the era that was meant to be evoked:
It wasn’t until the day of FDR’s death that I found out we were in the 40s, and I was surprised, especially considering Barbara Streiand’s very 70s makeup and the distinctly 70s look to all of Redford’s clothing.
It occurred to me last week, while I was watching the original Thomas Crowne Affair for the first time, that one of the reasons films from the 60s hold up so well is that it was the last decade in which the clothing still looks as good now as it did then. And yet you can tell even the style of Thomas Crowne is approaching the end of that decade. From about 1970 onwards the clothing became too trendy, leaving the movies visually dated. The same is true of the oversized 80s and the return to flared collars in the 90s. It’s still naturally impossible for us to tell the degree to which this decade’s movies are slaves to trends.
The style of the 60s was still classic enough that it has a wonderfully timeless quality. But what would a new movie made to look like it was made in the 60s look like? That seems to be the intent of Michael Radford in his new heist picture Flawless. I’m not sure why he casted Demi Moore to play an Englishwoman while there are plenty of his fellow countrywomen to choose from, but I can understand why she’d take the role. She hasn’t had a good one in ten years, if ever. But Moore does have an icy look, like a brunette Tippi Hedren, and Radford may be after a Hitchcockian vibe. At any rate Michael Caine is enough to get me in the door.