Ted Kramer's wife leaves her husband, allowing for a lost bond to be rediscovered between Ted and his son, Billy. But a heated custody battle ensues over the divorced couple's son, deepening the wounds left by the separation.
Texas greenhorn Joe Buck arrives in New York City 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
Jon Voight and Dustin Hoffman often competed with each other. Hoffman became a movie star before Voight did, and that brought some jealousy to the set. "We were like Marvin Hagler and Sugar Ray Leonard, two fighters going at it", Hoffman told the Los Angeles Times. "We knew the movie depended on the bond between us. All through shooting, we'd say to each other, out of the side of our mouths, like a fighter in a clinch, 'Buddy, is that the best you can do?'" 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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