Redford’s performance screams of a man worn out by it all – a perfect tone for Jack Wiel if only the film had focused more intently on such aspects rather than doing what Pollack always tried to: shoehorn in a romance. In a way, Jack Wiel is the perfect character for Redford and Pollack’s relationship to end on; he’s like an amalgam of previous Redford/Pollack creations. Whether it’s the social/political convictions of Jeremiah Johnson; the reluctant participant in something much bigger (government related) a la Three Days of the Condor; the laissez-faire attitude of his Hubbell Gardiner from The Way We Were; the go-with-the-flow/don’t stand in the way of nature mentality of Finch Hatton from Out of Africa; or the cynical sellout Sonny Steele, who gains a conscience thanks to a beautiful woman with political convictions like in The Electric Horseman. And had Havana been about that – had it been about the career of these two men and their work together – then I think the film would have worked. Ditch the girl in the A-story and make the film about the two men in her life (Julia and Redford). That, to me, seems like an interesting version of Havana.