往日情懷 The way we were(我倆的過去)

The way we were(我倆的過去)

Memories light the corners of my mind
回憶，照亮了我內心的角落
Misty water-colored memories of the way we were
那些朦朧如水彩一般、我倆過去的回憶

Scattered pictures of the smiles we left behind
散落的照片裡，有我們遺落的笑容
Smiles we gave to one another for the way we were
為我倆的過去所給予彼此的笑容

Can it be that it was all so simple then
還能像從前一樣那麼單純嗎？
Or has time rewritten every line
還是有時間重寫每一行每一句？
If we had the chance to do it all again
如果我們有機會重來一遍
Tell me, would we, could we
告訴我，可能嗎？可以嗎？

Memories may be beautiful and yet
回憶也許是美麗的
What's too painful to remember
那痛苦得讓我們不願想起的往事是什麼？
we simply choose to forget
竟讓我們乾脆選擇了遺忘
So it's the laughter we will remember
於是，我們將只記住歡笑
Whenever we remember the way we were
當我們回憶起我倆的過去




The way we were
我倆的過去

The Way We Were

From Wikipedia, the free encyclopedia

• •

For other uses, see The Way We Were (disambiguation).

The Way We Were
Directed by	Sydney Pollack
Produced by	Ray Stark
Written by	Arthur Laurents
Starring	Barbra Streisand Robert Redford Bradford Dillman Lois Chiles
Release date(s)	October 17, 1973
Running time	118 min
Language	English
IMDb profile

The Way We Were is a 1973 American film which tells the story of an intense Jewish woman who marries a carefree WASP following World War II. Fundamental differences in the way they engage the world – as revealed in their responses to the rise of McCarthyism – eventually pull them apart. Starring Barbra Streisand and Robert Redford, along with Bradford Dillman, Lois Chiles, Patrick O'Neal and Viveca Lindfors, the film is both a romance of star-crossed lovers and a morality tale about the importance of commitment to both individuals and relationships.

An underlying theme, too, is the elusive quality and role of beauty: Externally, Hubbell's perfect features, aristocratic air, and self-assurance contrast with Katie's homeliness, awkwardness, and agitated yearning. But as the story unfolds, her sterling character shines forth, while his gifts are squandered, untapped for any purpose larger or deeper than self-gratification. A bittersweet role reversal transpires, in which she blossoms as a true beauty, while he fades into slack insubstantiality (Streisand would later star in other films that reflect this trope, including A Star is Born and Yentl).

The film was a runaway hit in theaters, and became the fifth-highest grossing film of 1973.

The movie was written by Arthur Laurents (whose novelization of the story was published in 1972) and David Rayfiel (uncredited) and directed by Sydney Pollack.

Part of the movie was filmed on location in New York's Capital Region. The first part of the movie was shot at Union College and in and around Ballston Spa, New York.