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Robert Redford’s most memorable performances range from a charismatic outlaw and a self-interested athlete to a political candidate, a journalist and a sailor fighting for survival. This is an editorial selection, not an objective ranking: the choices weigh the roles’ distinctiveness, Redford’s screen persona, the films’ cultural or career significance, and the range they show across his career.
How this selection was made
Critics have approached Redford’s legacy in different ways: the BFI has presented ten essential films, the Associated Press selected eleven memorable titles, and The Guardian ranked ten screen roles. Those lists do not establish a single definitive order. This one brings together performances that reveal different facets of Redford’s work and influence.
His career spanned six decades and more than 40 feature films, according to BFI Sight and Sound. The ten performances below move from the early films that shaped his screen image to a late-career role built around near-silence.
Robert Redford’s 10 iconic performances
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Butch Cassidy and the Sundance Kid (1969) — the Sundance Kid
Redford’s Sundance Kid is cool, watchful and quietly funny alongside Paul Newman’s more openly playful Butch. Their easy partnership gives the western much of its charm, while Redford’s restraint makes the outlaw feel self-possessed rather than showy. The role became a defining part of his screen identity: the Sundance Institute says the film firmly cemented his on-screen career, and the Sundance resort took its name from the character.
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Downhill Racer (1969) — David Chappellet
Redford turns the familiar image of the admirable, patriotic athlete inside out. Chappellet is ambitious and self-centered, and Redford’s controlled, difficult-to-read performance keeps the character from becoming an easy hero. The result is a sports drama less interested in cheering for its star than in watching a competitor pursue victory on his own terms. The BFI discusses the film as a revealing contrast to Redford’s more romantic and adventurous roles.
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The Candidate (1972) — Bill McKay
As Bill McKay, a Democratic candidate drawn into the machinery of a campaign, Redford makes public appeal part of the performance. McKay’s image and campaign lines gradually become inseparable from the person underneath them. The BFI notes that Redford’s distant charisma allows voters—and viewers—to project what they want onto him, making the performance central to the film’s political satire.
Rank #2
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Jeremiah Johnson (1972) — Jeremiah Johnson
Redford plays a mountain man whose attempt to live beyond society becomes a revenge-driven struggle for survival. The performance is spare and physical, suited to a film that gives the natural world a powerful presence. It was one of Redford’s seven collaborations with director Sydney Pollack; the BFI also connects the film’s attention to nature with Redford’s later environmental activism.
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The Way We Were (1973) — Hubbell Gardiner
Opposite Barbra Streisand’s Katie, Redford plays Hubbell as a romantic partner whose ease and charm sit uneasily beside her conviction and political engagement. Their contrast gives the love story its emotional tension, while the blacklist-era setting places private choices against a wider political climate. The BFI includes the film among the important roles that show how effectively Redford could work within a romantic pairing.
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The Sting (1973) — Johnny Hooker
Redford’s Johnny Hooker is a small-time thief and gambler recruited into an elaborate con by Newman’s veteran grifter, Henry Gondorff. Redford gives Hooker the youthful nerve and quick reactions the scheme needs, while Newman supplies a different kind of seasoned confidence. The BFI highlights the film’s playful, old-Hollywood entertainment; The Guardian notes that Redford received his only acting Oscar nomination for the role.
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Three Days of the Condor (1975) — Joseph Turner
Redford plays Joseph Turner, a CIA codebreaker caught in a conspiracy. Rather than relying on the authority of a conventional action hero, he makes Turner thoughtful and low-key, a man forced to respond to a danger he does not understand. That measured presence gives the political thriller an uneasy intimacy: the audience is learning what is happening alongside him.
Rank #4
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All the President’s Men (1976) — Bob Woodward
As Washington Post reporter Bob Woodward, Redford is part of a two-man investigation with Dustin Hoffman’s Carl Bernstein. His interest in the reporters’ work went beyond acting: the BFI and the Associated Press report that Redford approached Woodward and Bernstein about adapting their story. That connection between performer and project deepens the role’s significance, while the film’s focus on reporting makes patient inquiry—not a conventional action-hero display—its source of momentum.
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The Natural (1984) — Roy Hobbs
Redford plays Roy Hobbs, a baseball player in Barry Levinson’s adaptation of Bernard Malamud’s novel. The role brings him into a mythic sports story, and the Associated Press points to the film’s cultural impact as a reason it remains memorable beyond critics’ preferences. Its place on this list reflects both the performance and the lasting reach of the movie.
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All Is Lost (2013) — the sailor
As a solo sailor facing an escalating emergency at sea, Redford carries the film with minimal dialogue. Physical effort, endurance and desperation do the work that conversation usually would, making the role a striking contrast to his talkative charmers and political figures. The BFI calls it “a defining late-career performance of endurance and desperation.” Redford described the film as “a pure cinematic experience” and said he valued being able to return to his roots as an actor and invite the audience into what the character was feeling and thinking, as quoted by the Associated Press.
Other roles that could make the list
A different selection could reasonably include Brubaker for social drama, Out of Africa for epic romance, Sneakers for a later audience favorite, or The Old Man & the Gun for late-career work. The Associated Press notes continuing fan bases for Sneakers and The Way We Were, and includes Out of Africa and The Old Man & the Gun in its retrospective. Their omission here reflects the aim of balancing genres and career periods, not a claim that these alternatives matter less.
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