I have done many a patriotic tune over the past four years at Word & Song, but since long-weekends now determine when we celebrate civic holidays, we’ve devoted a week to “memorials,” and so that party is over — for a bit. (I’ll come back with a 21-gun salute for the nation’s upcoming 250th birthday and likewise the 4th “birthday” of Word & Song in a few weeks). For this last day of May, then, let me shift the works to a related word, memories, and to a song that that revitalized the singing career of Barbra Streisand and became her first-ever #1 hit song and the signature song that she would sing at every performance for the rest of her career. Barbra came out of retirement for this year’s Academy Awards to sing this song in memory of actor Robert Redford, her co-star in the film of the same name.
When I say that “The Way We Were” revitalized Barbra Streisand’s career, I don’t mean that she was in professional slump at the time she recorded it, by any means. But her early hits — with songs such as “On a Clear Day,” “People,” and “Don’t Rain on My Parade” — were slowly losing out to the surging popularity of rock ’n’ roll. Fortunately for everyone, Barbra had made a firm decision to accept lower royalties for her musical recordings in exchange for absolute control of what pieces she performed. Most recording companies would have balked at such an arrangement, because if they had a hot property, they were looking to make money, and make it big from that “star.” Barbra didn’t care about that, and because she had retained the rights to choose her own projects, she was able to continue doing her beloved show music throughout her career, without pressure from her studio (Columbia Records) to do more “relevant” songs. By the late 1960’s Barbra was directing most of her attention to Broadway and to film roles. Instead of focusing on single hits, she simply continued churning out successful album after succesful album of songs which she wanted to record … while the rock beat went on around her. And for a brief few years, her sales declined, but her star continued to rise.
And this brings us to 1973, when Barbra was performing the female lead in the film “The Way We Were” (released in January, 1974). That film, of course, was definitely not a musical, but having Barbra Streisand under contract was too good an opportunity for anyone to miss. Columbia Pictures called in Marvin Hamlisch to compose twelve songs which would form the centerpiece of the film, including a theme song to be sung by Barbra as a lead part of the musical score. Barbra had known Hamlisch as well as his lyricists, Alan and Marilyn Bergman, from Broadway.
As she had done with Columbia Records, Barbra retained that control over all the music she performed, even in films, and so she asked Hamlisch to write her a theme song in a minor key, to set a melancholic tone for the film’s story of a love that got away. A minor key? Of course. However, when Hamlisch handed over the music, he’d written it in a major key, but he kept in mind Barbra and her singing style and range, the lyrics, and mood of nostalgia and regret that the screenplay required. It worked, and with Barbra adding her inimitable talent, how could it have failed? So Barbra conceded the key, but she did have one tremendous suggestion about the lyrics, and once you hear it, you can’t un-hear it. The original lyrics began, “Daydreams light the corners of my mind.” “Daydreams?” Barbra objected, and so she should have. That was entirely the wrong word. She wanted “memories.” Alan and Marilyn objected on a technicality: that “memories” had three syllables. But of course, it has two the way most people often say the word: mem’ries. (Try swapping out the word “daydreams” for “memories,” to see how off that sounds in this song.) The point was made. That case was closed. And the song — after 33 takes — was in the can.
You might be surprised to hear that test audiences who watched the film’s pre-release showings didn’t care much for the song, so the the studio decided to ditch it for the film. But they did release it in September of 1973 as a single — as part of publicity campaign for the forthcoming film release. And they were that surprised with the song’s was an immediate success. Audiences around the world loved the song, and so back into the film soundtrack it went. “The Way We Were” became Streisand’s first #1 hit single, and it even bounced Ringo Starr out of the #1 spot in the US (for his very popular version of the be-bop tune, “You’re Sixteen”). Likewise, it immediately hit the charts in Canada, the UK, and Australia. Imagine not recognizing the value of this song? Here are just some of the awards it won:
The film soundtrack shortly became a gold album and reached the Top 20 on the Billboard 200. As a single, the title song went gold as well, selling more than two million copies. And the awards went on and on and on.
“The Way We Were” was named the pop hit of 1974.
That year it also won the Golden Globe Award for Best Original Song.
It won Marvin Hamlisch and the Bergmans two Oscars: one for Best Music Score and another for Best Original Song.
It won a Grammy for The Song of the Year.
It was inducted into the Grammy Hall of Fame in 1988.
It placed at Number 8 in The American Film Institute’s list of The Top 100 Songs of 100 Years.
The Recording Industry Association of American and The National Endowment for the Arts both inducted the song into their lists of Songs of the Century.
And I’ve heard that in many circles, “The Way We Were” is considered Barbra Streisand’s best-ever recording. I’m not sure of that, because she had so many very fine recordings, not to mention all of her film musical pieces. But while I am listening to this song, I kind of agree with the assessment. So it has a little schmaltz? What is life without a bit that particular ingredient?
Below are three versions of “The Way We Were” as recorded by Barbra Streisand: one from her own platinum album of the same name, one released as the single that hit #1 everywhere, and one released in the film soundtrack. Each is a little different. Let me know which you like the best.
Word & Song by Anthony Esolen is an online magazine devoted to reclaiming the good, the beautiful, and the true. We publish six essays each week, on words, classic hymns, poems, films, and popular songs, as well a weekly podcast for paid subscribers, Poetry Aloud or Anthony Esolen Speaks. Paid subscribers also receive audio-enhanced posts and access to our full archive and to comments and discussions. We value all of our subscribers, and we thank you for reading Word and Song!
This song came out at the time of my parents' divorce. As I listen to your three linked versions now, I'm looking at an old Polaroid I keep above my desk of my parents and me on a late 1960s Florida vacation, my mom desperately holding us together as the waves come in behind us. She knew what was up. A couple of years ago, I made Dad's cancer journey with him, held his hand as he passed, told him I loved him over and over. All memories are beautiful and yet, what's too painful to remember, I choose to remember, along with the laughter. There's that great scene and line in "Shadowlands." C.S. Lewis wrote, "The pain I feel now is the happiness I had before. That's the deal."
Thank you. This was so interesting especially the part where she suggests to change Daydream to Memories. I know the song from the movie and this,"but he kept in mind Barbra and her singing style and range, the lyrics, and mood of nostalgia and regret that the screenplay required." I think this is what I like in the movie and the song, the mood of nostalgia and regret. I don't think that mood would come across in the movie as well as it does if it was not for the song..