Recent college graduate Benjamin Braddock is trapped into an affair with Mrs. Robinson, who happens to be the wife of his father's business partner and then finds himself falling in love with her daughter, Elaine.
Aurora and Emma are mother and daughter who march to different drummers. Beginning with Emma's marriage, Aurora shows how difficult and loving she can be. The movie covers several years of ... See full summary »
James L. Brooks
Texas greenhorn Joe Buck arrives in New York for the first time. Preening himself as a real 'hustler', he finds that he is the one getting 'hustled' until he teams up with a down-and-out but resilient outcast named Ratso Rizzo. The initial 'country cousin meets city cousin' relationship deepens. In their efforts to bilk a hostile world rebuffing them at every turn, this unlikely pair progress from partners in shady business to comrades. Each has found his first real friend. Written by
Contrasting Opinions #2: According to Dustin Hoffman himself, the taxi incident *wasn't* scripted. During an L.A. Times interview in Jan. 2009, he said that the movie didn't have a permit to close down the NYC street for filming, so they had to set-up the scene with a hidden camera in a van driving down the street, and remote microphones for the actors. After 15 takes, it was finally going well, but this time, as they crossed the street, a taxi ran a red light. Hoffman wanted to say "Hey, we're SHOOTING here!", not only from fear of his life, but also from anger that the taxi driver might have ruined the take. Instead, being the professional that he is, he stayed in character and shouted "Hey, we're WALKING here!" and made movie history. Jon Voight also backs up this version of the incident, saying that seeing how well Hoffman was handling the situation, he likewise stayed in character. See more »
When the main character, Voight, is hungry and destitute, he stops in a diner and sits with a weird mother and son. The son looks at the tracking camera not once but twice before dialog resumes. Easily edited, but left in, maybe on purpose. See more »
Whoopee-tee-yi-yo. Get along little dogies. It's your misfortune and none of my own.
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Saw this as a young naive punk when it was first released. Had me snifflin' like a baby as I left the theatre, trying not to let anyone see. So, when I saw it again now in '07, I knew what to expect & the sobs were ready & primed as their required moment approached. Thankfully this time I was at home.
What I hadn't remembered from my youthful viewing- or perhaps hadn't noticed because of it, was the technical brilliance of this movie. The use of flashbacks which tell so much story without resorting to dialogue. The camera work which seemed to place the viewer, together with the characters in the scene. Think of the opening when Joe is crossing the street to the diner, the camera pans behind the woman & child sitting on a bench in the foreground, framing the street scene.
The story itself, & the characters - seedy, sad & brutally real. It is very touching to be drawn so closely into a human drama such as this with people most of us would likely spurn. Then again, Joe & Ratso could be any of us. Must have been '70 when I saw it. I recall that upon leaving the theatre I was impelled to find the company of friends. All these years later, I'm glad I'm not alone tonight. This is one hell of a great movie.
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