“ALL OF IT,” said Robert Redford, when asked if he supported the bombings by The Weather Underground.
Obama’s friend and co-founder of The Weather Underground, Bill Ayers, planned to murder 25 million Americans.
The Weather Underground’s history of terrorism consisted of:
1970: SFPD Bombing (1 Killed)
1970: NYPD Bombing (7 Hurt)
1970: NYC Explosion (3 Killed)
1971-72: Capital & Pentagon Attacked
1981: Armed Robbery (3 Killed)
From newsbusters-George Stephanopoulos was so enthusiastic towards Robert Redford and his sympathetic new film about an ex-1960s radical that the actor enthused, "You ought to get on the marketing team!" The aging actor/director appeared on Tuesday's Good Morning America and endorsed the violent actions of protest groups. Reminiscing on his own past, the liberal Hollywood star recounted, "When I was younger, I was very much aware of the movement. I was more than sympathetic, I was probably empathetic because I believed it was time for a change."
After Stephanopoulos wondered, "Even when you read about bombings," Redford responded, "All of it. I knew that it was extreme and I guess movements have to be extreme to some degree."
Read about Redford and NBC and the pro-terrorism movie and interview, and reviews, here Newsbusters.
Read this review from Variety "Robert Redford's unabashedly heartfelt but competent tribute to 1960s idealism won't spark riots at the box office"
“Old hippies never die, they just smell that way,” bumperstickers used to say, but the dropouts largely come up smelling like roses in “The Company You Keep,” Robert Redford’s unabashedly heartfelt but competent tribute to 1960s idealism. Cannily casting eminent baby-boomer thesps — including Julie Christie, who was a poster kid for the counterculture — against young name actors like Shia LaBeouf, the pic attempts to bridge the generation gap with this story of a Weather Underground fugitive on the lam, played by Redford himself. Although more engaging than the helmer’s last few films, “Company” won’t spark riots at the box office.
There is something undeniably compelling, perhaps even romantic, about America’s ’60s radicals and the compromises they did or didn’t make, a subject underexplored in Hollywood cinema apart from honorable exceptions like Sidney Lumet’s “Running on Empty” (1988) and a few others. The French, meanwhile, have almost completely monopolized radical chic nostalgia, as seen in another Venice fest entry, Olivier Assayas’ “Something in the Air.”