Kramer vs. Kramer was theatrically released December 19, 1979, by Columbia Pictures. The film emerged as a major commercial success at the box office, grossing more than $173 million on an $8 million budget, becoming the highest-grossing film of 1979 in the United States and Canada. It received widespread critical acclaim upon release, with high praise for its direction, story, screenplay and performances of the cast, with major praise directed towards Hoffman and Streep's performances.
Ted Kramer, a workaholic advertising executive in New York City, has just landed an important account and job promotion. However, when he shares the news with Joanna, his wife of eight years, she shocks him by announcing she is leaving him. She walks out of the apartment without Billy, the couple's seven-year-old son, because she feels she is unfit to be a mother. The next morning when Billy asks about his mother, Ted explains that she went away to be alone for a while.
Ted drops Billy at his elementary school by asking him what grade he attends and leaving him with a woman at the entrance, before rushing to work. At the ad agency, Ted confides about the situation to Jim O'Connor, his boss and friend. Jim is understanding, but hopes that Ted's situation will not interfere with his new responsibility as the lead person on the Mid-Atlantic Airlines account.
Initially, Ted and Billy struggle to adapt to their new living situation as Billy misses his mother and Ted has to do the extra housework usually done by Joanna. Father and son gradually settle into a routine without Joanna, but Ted’s work suffers. Billy and Ted have a fight one evening in which Billy cries for his mother, but they later reconcile. When Billy worries his mother’s departure is his fault, Ted assures him that Joanna left because she was not happy in the marriage.
Meanwhile, Ted has become good friends with divorced neighbor Margaret Phelps, whom Joanna was confidantes with. One day, Billy has an accident when he falls off a jungle gym. Ted rushes him to the hospital, and asks the doctor to let him stay by his son's side as he receives ten stitches.
After fifteen months, Ted receives a call from Joanna and meets her at a restaurant. Joanna reveals she is happier after working in California and seeing a therapist. When she states that she is now ready to raise her son and wants Billy to come live with her, Ted becomes furious and leaves. He consults with a divorce attorney John Shaunessy, who cautions that the court usually awards custody to the mother when the child is young.
At work, Jim notifies Ted the agency is letting him go because the Mid-Atlantic Airlines executives are displeased with his work. Knowing he has no chance at custody if he is unemployed, Ted doggedly tries to land a job within twenty-four hours, despite few ad firms hiring during the holiday season. He convinces two agency executives to consider his application immediately, and accepts a lower-salaried position for which he is overqualified.
The custody hearing begins. In court, Joanna asserts that Ted never abused her or was unfaithful, but she lost her self-esteem as a stay-at-home mother. She insists she has since "become a whole person again" and believes her son needs her more than his father. Ted states he has proven that he can parent as well as Joanna, and insists that taking Billy away from him could cause "irreparable" harm.
The legal battle becomes contentious when the attorneys resort to brutal character assassinations. Shaunessy brings Joanna to tears by forcing her to admit that she was part of the marriage's failure. Ted also admits he made mistakes as a father and husband. However, his job loss and Billy's accident are used to discredit him. Ted expresses resentment at Joanna for her attorney's aggressive tactics. Margaret testifies on behalf of Ted and implores Joanna to recognize that he has become a great father.
Later, Ted learns Joanna was awarded custody. He decides not to appeal in order to spare Billy the burden of testifying in court. Billy becomes upset as Ted explains that they will still see each other, even though Billy will be living with his mother. On the morning Joanna is scheduled to pick up Billy, she rings the apartment building's intercom and asks to see Ted in the lobby alone. She tearfully reveals that she is relinquishing custody after realizing that she does not want to take Billy away from his home. Ted reassures her as she takes the elevator up to inform her son.
Producer Stanley R. Jaffe and writer and director Robert Benton read Avery Corman's source novel, and were so moved by the story that they bought the rights to make it into a film. Dustin Hoffman was the only actor they envisioned in the lead role of Ted Kramer.[2]
Hoffman, going through a divorce at the time, initially turned down the role.[3] He has since stated that, at that time, he had wanted to quit film acting and return to the stage, due to his depression and distaste for Hollywood. While Jaffe and Benton were courting Hoffman, James Caan was offered the role, but turned it down, as he was concerned the film would be a flop.[4]Al Pacino was offered the role, but felt it was not for him.[5]Jon Voight also turned down the role.[2] Hoffman met with Jaffe and Benton at a London hotel during the making of Agatha (1979), and was convinced to accept the role. Hoffman has credited Benton and this film for rejuvenating his love of film acting, and inspiring the emotional level of many scenes. Hoffman was reminded of his love for children and "got closer being a father by playing a father".[2]
Benton and Jaffe selected Justin Henry to play Billy. Hoffman worked extensively with Henry, then 7 years old, in each scene to put him at ease.[6] Benton encouraged Henry to improvise to make his performance more natural.[3] The ice cream scene in which Billy defies Ted by skipping dinner and eating ice cream was all improvised by Hoffman and Henry.[citation needed] Hoffman contributed many personal moments and dialogue; Benton offered shared screenplay credit but Hoffman declined.[7]
Streep was initially cast as Phyllis (the role eventually taken by JoBeth Williams), but she was able to force her way into auditioning for Joanna in front of Hoffman, Benton and Jaffe. She found the character in the novel and script unsympathetic ("an ogre, a princess, an ass", as she called her), and approached Joanna from a more sympathetic point of view.[9] Hoffman believed the death of Streep's fiancé, John Cazale, only months earlier, gave her an emotional edge and "still-fresh pain" to draw on for the performance.[9] Streep was contracted to work only 12 days on the film.[10]
Gail Strickland was first cast as Ted's neighbor Margaret, but departed after a week of filming (due to "artistic differences", according to Columbia Pictures), and was replaced by Jane Alexander.[3] Michael Schulman claims Strickland was so rattled by the intensity of filming with Hoffman that she developed a stammer, making her lines difficult to follow.[9] Strickland disputes this account, saying she couldn't quickly memorize improvised lines Hoffman gave her, which agitated him, and she was fired two days later.[9]
Cinematographer Néstor Almendros, a collaborator on numerous François Truffaut films, had been hired with the expectation that Truffaut would direct.[11] Truffaut turned it down, as he was busy with his own projects, and suggested screenwriter Robert Benton direct the film.
JoBeth Williams worried about disrobing in the scene with a young Justin Henry. "I was afraid my nudity would traumatize the little boy," she said, but was relieved that he seemed unbothered.[12]
Controversy
Hoffman has been widely reported to have harassed Streep during the making of the film, and the two had a contentious working relationship.[9][13] In a 1979 Time magazine interview, Streep claimed that Hoffman groped her breast on their first meeting, although a representative for Streep said the article was not "an accurate rendering of that meeting".[14] When Streep advocated portraying Joanna as more sympathetic and vulnerable than she was written, she received pushback from Hoffman.[9] Such was his commitment to method acting,[15] he would hurl insults and obscenities at Streep, taunt her with the name of her recently deceased fiancé, John Cazale, claiming it was designed to draw a better performance from her.[16] He famously shattered a wine glass against the wall without telling her (although he did inform the cameraman beforehand), sending glass shards into her hair. Her response was, "Next time you do that, I'd appreciate you letting me know."[9] In 2018, Streep claimed that Hoffman slapped her hard without warning while filming a scene. "This was my first film, and it was my first take in my first film, and he just slapped me. And you see it in the film. It was overstepping."[17]
Reception
Kramer vs. Kramer received widespread critical acclaim upon release, with high praise for its direction, story, screenplay and performances of the cast, with major praise directed towards Hoffman and Streep's performances.
On the review aggregator website Rotten Tomatoes, 89% of 102 critics' reviews are positive, with an average rating of 8.20/10.The website's consensus reads: "The divorce subject isn't as shocking, but Kramer vs. Kramer is still a thoughtful, well-acted drama that resists the urge to take sides or give easy answers."[18] It has a score of 77 out of 100 on Metacritic, based on nine reviews, indicating "generally favorable reviews".[19]
Roger Ebert of the Chicago Sun-Times gave the film four stars, giving praise to Benton's screenplay. "His characters aren't just talking to each other, they're revealing things about themselves and can sometimes be seen in the act of learning about their own motives. That's what makes Kramer vs. Kramer such a touching film: We get the feeling at times that personalities are changing and decisions are being made even as we watch them."[20]
Vincent Canby of The New York Times called it a "fine, witty, moving, most intelligent adaptation of Avery Corman's best-selling novel", with Streep giving "one of the major performances of the year", and Hoffman "splendid in one of the two or three best roles of his career."[21]
Gene Siskel of the Chicago Tribune gave the film four stars out of four, and wrote, "Kramer vs. Kramer never loses its low-key, realistic touch. You will sit at the end of the film wondering why we don't see more pictures like this. After all, its story is not all that unusual." He thought that Hoffman gave "one of his most memorable performances", and "should win the Academy Award next April".[22]
Variety wrote, "Stories on screen about men leaving women, and women leaving men have been abundant as of late, but hardly any has grappled with the issue in such a forthright and honest fashion as Kramer ... While a nasty court battle ensues, the human focus is never abandoned, and it's to the credit of not only Benton and Jaffe, but especially Hoffman and Streep, that both leading characters emerge as credible and sympathetic."[23]
Charles Champlin of the Los Angeles Times declared it "as nearly perfect a film as can be", and "a motion picture with an emotional wallop second to none this year."[24]
Gary Arnold of The Washington Post called the film "a triumph of partisan pathos, a celebration of father-son bonding that astutely succeeds where tearjerkers like The Champ (1979) so mawkishly failed".[25]
Stanley Kauffmann of The New Republic wrote, "All the people go through expected difficulties the way that runners take the hurdles in a track event: no surprise in it, it's just a question of how they do it. But the actors make it more."[26]
Shortly after the film's release, The New York Times and Time magazine published separate articles in which members of the bar and bench criticized the court battle scenes as "legally out of date". According to the legal experts interviewed for the articles, a modern judge would have made use of psychological reports, and also would have considered the wishes of the child. Another criticism was that the option of joint custody was never explored.[27][28]
In 2003, The New York Times placed the film on its Best 1000 Movies Ever list.[29]
Box office
Kramer vs. Kramer grossed $5,559,722 in its opening week from 534 theaters.[30] It went on to gross $106.3 million in the United States and Canada.[31][32] In its first 13 weeks overseas, it grossed more than $67 million.[33] It went on to become Columbia's highest-grossing film overseas, with theatrical rentals of $57 million, until surpassed in 1990 by Look Who's Talking (released by Columbia TriStar internationally).[34]
Kramer vs. Kramer reflected a cultural shift that occurred during the 1970s, when ideas about motherhood and fatherhood were changing.[2] The film was widely praised for the way in which it gave equal weight and importance to both Joanna and Ted's points of view.[20]
"Mon fils, ma bataille", the song about a painful divorce and a father's struggle to keep custody of his child, was inspired by Daniel Balavoine's parents' divorce, his guitarist Colin Swinburne's divorce, and by the film Kramer vs. Kramer.[54]
Dustin Lee Hoffman is an American actor. As one of the key actors in the formation of New Hollywood, Hoffman is known for his versatile portrayals of antiheroes and emotionally vulnerable characters. His accolades include two Academy Awards, four BAFTA Awards, five Golden Globe Awards, and two Primetime Emmy Awards. Hoffman has received numerous honors, including the Cecil B. DeMille Award in 1997, the AFI Life Achievement Award in 1999, and the Kennedy Center Honors Award in 2012. Actor Robert De Niro has described him as "an actor with the everyman's face who embodied the heartbreakingly human".
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Evil Angels is a 1988 Australian drama film directed by Fred Schepisi. The screenplay by Schepisi and Robert Caswell is based on John Bryson's 1985 book of the same name. It chronicles the case of Azaria Chamberlain, a nine-week-old baby girl who disappeared from a campground near Uluru in August 1980, and the struggle of her parents, Michael Chamberlain and Lindy Chamberlain, to prove their innocence to a public convinced that they were complicit in her death. Meryl Streep and Sam Neill star as the Chamberlains.
The French Lieutenant's Woman is a 1981 British romantic drama film directed by Karel Reisz, produced by Leon Clore, and adapted by the playwright Harold Pinter. It is based on The French Lieutenant's Woman, a 1969 novel by John Fowles. The music score is by Carl Davis and the cinematography by Freddie Francis.
Sophie's Choice is a 1982 psychological drama directed and written by Alan J. Pakula, adapted from William Styron's 1979 novel. The film stars Meryl Streep as Zofia "Sophie" Zawistowska, a Polish immigrant to America with a dark secret from her past who shares a boarding house in Brooklyn with her tempestuous lover Nathan, and young writer Stingo. It also features Rita Karin, Stephen D. Newman and Josh Mostel in supporting roles.
The 52nd Academy Awards ceremony, organized by the Academy of Motion Picture Arts and Sciences (AMPAS), honored films released in 1979 and took place on April 14, 1980, at the Dorothy Chandler Pavilion in Los Angeles, beginning at 6:00 p.m. PST / 9:00 p.m. EST. During the ceremony, AMPAS presented Academy Awards in 22 categories. The ceremony, televised in the United States by ABC, was produced by Howard W. Koch and directed by Marty Pasetta. Comedian and talk show host Johnny Carson hosted the show for the second consecutive year. Three days earlier, in a ceremony held at The Beverly Hilton in Beverly Hills, California, on April 11, the Academy Scientific and Technical Awards were presented by hosts Cloris Leachman and William Shatner.
The 5th Los Angeles Film Critics Association Awards, honoring the best in film for 1979, were announced on 15 December 1979 and given on 9 January 1980.
The 45th New York Film Critics Circle Awards honored the best filmmaking of 1979. The winners were announced on 19 December 1979 and the awards were given on 1 February 1980.
Ironweed is a 1987 American drama film directed by Héctor Babenco. Adapted to the screen by William Kennedy from his similarly named Pulitzer Prize–winning novel, Ironweed stars Jack Nicholson and Meryl Streep, with Carroll Baker, Michael O'Keefe, Diane Venora, Fred Gwynne, Nathan Lane, and Tom Waits in supporting roles. The story concerns the relationship of a homeless couple—Francis, an alcoholic, and Helen, a terminally ill woman—during the years following the Great Depression. Major portions of the film were shot on location in Albany, New York. The film received mixed reviews and was a box-office bomb, but Nicholson and Streep received Oscar nominations for Best Actor and Best Actress, respectively, for their performances.
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Meryl Streep is an American actress who has had an extensive career in film, television, and stage. She made her stage debut in 1975 with The Public Theater production of Trelawny of the 'Wells'. She went on to perform several roles on stage in the 1970s, gaining a Tony Award nomination for her role in 27 Wagons Full of Cotton (1976). In 1977, Streep made her film debut with a brief role alongside Jane Fonda in Julia. A supporting role in the war drama The Deer Hunter (1978) proved to be a breakthrough for Streep; she received her first Academy Award nomination for it. She won the award the following year for playing a troubled wife in the top-grossing drama Kramer vs. Kramer (1979). In 1978, Streep played a German, "Aryan" woman married to a Jewish man in Nazi Germany in the television miniseries Holocaust, which earned her a Primetime Emmy Award.
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References
↑ "Kramer vs. Kramer". Oscarblogger. June 3, 2012. Archived from the original on August 15, 2014. Retrieved April 1, 2013.
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