Comparison between theatrical version and the Extended Cut, both represented by the American 4K UHD/Blu-ray set from Sony

6 differences
* 4x additional material in theatrical version with a duration of 11.5 sec
* 4x additional material in the extended cut with a duration of 285.3 sec (= 4:45 min)

Background information on cuts in THE WAY WE WERE

In the 1973 romantic film The Way We Were, Sydney Pollack portrayed Barbara Streisand and Robert Redford as an unlikely couple. Redford's character Hubbell comes from a wealthy background and makes fun of fellow student Streisand/Katie, who comes from a poor background and is politically engaged. Opposites attract, as we all know. Then, in the McCarthy era, Kate's past as a Marxist catches up with her.

The political aspect certainly sets the film apart from comparable genre titles. It was already discussed in Streisand's 1981 biography "Streisand: The Woman and the Legend" and in more detail in the 1999 documentary "Looking Back", that this aspect was trimmed a little for the theatrical version. Although Streisand has always spoken positively about the film, she has also regretted this, as the brief scene played in the documentary also made it clear that her character was actually a little stronger in the original version. She remains true to her political principles and the dialog also makes it much clearer why Katie and Hubbell split up at this point in the film. Paul Katz has given a more detailed summary of the circumstances on Medium.

An extended version for the 50th anniversary

At the end of 2023, Streisand's memoirs were released as well as a new 4K restoration with a new theatrical release to mark the 50th anniversary. Vanityfair published an excerpt from the memoir about the material cut at the time and Streisand enthusiastically promoted a new extended version on social media, which celebrated its premiere. In the USA, this has also been released code-free in a Blu-ray/4K UHD set.

Predominantly, as advertised, there are two significantly extended scenes. First, Katie makes a reference to the Hollywood Ten, who were convicted in 1948 for refusing to give information about their alleged memberships in the Communist Party. While Hubbell describes such resistance as a "pointless, futile gesture", it becomes apparent that she presumably places her position on this above their relationship. In the second block of scenes, Katie is reminded of her own past by a protester on campus and in the conversation with Hubbell that immediately follows, he makes it clear that he may lose his job because of the witch hunt against Katie. She herself then clearly suggests divorce as a way out.

There are also minor cosmetic adjustments. All in all, the extended version is the preferable choice. It's certainly not a completely new film, but the small additions to the dialog make the story seem more rounded and at least more "complete" as it was intended to be at the time. A more classic love story was probably more in the foreground in the 70s and was also preferred by the test audience. Without these two scenes, the impression may arise that Katie leaves Hubbell at the end mainly because of his affair - but her political principles, which were shown from the beginning, were of course the driving force here.

Runtimes:

• Theatrical version: 118:16 min
• Extended Version: 122:50 min

Running times are arranged according to the scheme
Theatrical version on US 4K Blu-ray in 23.976fps / Extended version on US 4K Blu-ray in 23.976fps

Additional material in the theatrical version
90:29-90:31 / 90:29

After Hubbell states "We're kind of back where we started, aren't we?" when discussing the future with their child together, Katie is seen a moment earlier in the theatrical version and so she hesitates briefly before answering.

+ 1.4 sec

Additional footage in theatrical version
90:34-90:38 / 90:33

Two more reaction shots between Hubbell and Katie in theatrical version.

+ 4.1 sec

This is followed in both versions by the sentences "Now why don't we all just stay home?" from Hubbell and "I can't" from Katie. This ends the scene in theatrical version.

90:47 / 90:42-91:21

In the extended version, the dialog continues.

Hubbell: "Why? Are you such a rare blood type that they need you?"
Katie: "Hubbell... I'm going to Washington because it's not fair to let our friends, Brooks and the Hollywood Ten, take a beating for the rest of us and do nothing."
Hubbell: "It's a gesture, Katie. A pointless, futile gesture. And it can cause a hell of a lot of trouble."
Katie: "But I'm not afraid of trouble."
Hubbell: "Not even for us?"

39.1 sec

Alternative
105:31-105:43 / 106:05-106:12

When the two embrace and Katie has said "I want us to love each other", the extended cut immediately switches to the scene on the beach with a slow, soft fade. Only here you can hear Hubbell off-screen: "We do. That's the trouble, Katie. We do."

In the theatrical version, the two are instead seen embracing for a little longer and Hubbell merely takes a breath. The shot on the beach also begins a little earlier.

Theatrical version 5.2 sec longer.

Theatrical version	Extended cut

107:46 / 108:14-111:59

After the scene on the boat, Katie is seen driving across the campus. She notices a young girl giving a fiery speech, similar to what she used to do. She starts to cry.

Whispering: "Who's that talking? - Who the hell is she? - Let's get closer."
Girl: "We need to support the faculty in their determination to resist the Pledge of Allegiance. The witch hunters have already started blacklisting our teachers. They want to put informers in our classrooms and labs. If we let them continue, it's all over.
Comments from the audience: "Who cares about this stuff? - Go back to Russia. - No, let them talk."
Girl: "We have to fight to stop them. That is the duty of our generation. Otherwise this country will never grow up."
Comments: "Who is this girl? - Come on, let's get out of here. Back to class, people."

Afterward, Hubbell arrives home early and tells Katie that a case has been filed against her.

Katie: "I made you a martini."
Hubbell tinkers with the stove, "What is this thing? It never draws properly."
Katie: "Oh, I was actually going to call someone to fix it. I'm sorry."
Hubbell comes over to her, "Here, do you want me to do this?"
Katie: "No, no, no. It's okay. I'll do it. Do you want to watch TV while we eat?"
Hubbell: "I... Never mind."
Katie: "How's the new script going?"
Hubbell: "It's... Well, it's a lousy novel, but I think we can do something with it."
Katie: "Well, you know what they say, lousy novels make good movies."
Hubbell: "Who is Frank McVeigh?"
Katie: "We went to college with him. Well, at least I did. We were in YCL together. Why?"
Hubbell: "He ratted you out."
Katie: "He what?"
He looks serious, she starts laughing and says, a little dismayed: "The little rat. Madness. That's so crazy, he was my... He was my prom date and you interrupted for ten seconds and.... I guess it was obvious I liked you better than him. What was he supposed to tell them? I left the party during the war."
Hubbell: "They don't care about that."
Katie: "But I'm a nobody. I mean, I... I haven't been near the studio in months. Um... Oh, God. Because I'm your wife? A studio employee can't have a subversive wife."
Hubbell: "Well, this employee can."
Katie: "I don't know, I can't imagine there's another name I can call. Hubbell, there is no justification for an informant, none. There's something wrong with any country that allows informants."
Hubbell: "Do you think I want you to do this?"
Katie: "I don't know! I don't know. I don't know anymore. I just know that if I don't name names, you won't get another job in this town."
Hubbell: "I don't count my Oscars."
Katie: "But, Jesus, if you can't even make a living..."
Hubbell: "All right. Okay. I'll finish my book. Let's eat."
Katie looks a little perplexed and Hubbell leaves a little early to get the food.

A total of 224.2 sec (= 3:44 min)


Alternative
109:14-109:15 / 113:26-113:49

In the extended cut, Katie still comments here, "If we got divorced, then you wouldn't have a subversive wife anymore. That would solve everything. Wouldn't it?"
Hubbell: "No. No, it wouldn't."
She continues to look in his direction with an emotional expression, he turns his head to the side thoughtfully.

The theatrical version only has a brief shot of Hubbell for this as a transition, and then it's straight on with Katie's "Wouldn't it be lovely if we were old?".

Extended cut 21.1 sec longer