KRAMER VS. KRAMER: Blu-ray (Columbia, 1979) Sony Home Entertainment

BEST PICTURE - 1979

Funny…or rather, ironic to think of how laissez faire and jaded our attitudes have become since Robert Benton’s Kramer vs. Kramer (1979) first hit the big screen. Love and marriage, and what came afterwards, particularly when the bloom of passion has cooled, real-life sets in, and one of the partners in this once ‘happy union’ wants out, these notions were still taboo in the late 1970’s; the church, never relaxing its views on divorce, and society in general, holding its hushed breath whenever acknowledging someone whose vows had already taken the inevitable tumble. Hollywood censorship ensured that divorce was among the cardinal sins to be avoided at all costs on the screen. A fictional wife in a terrible marriage could not ask for a divorce; rather, the husband involved had to suspect a problem brewing and say something like, “I know you want one, don’t you?” So, Kramer vs. Kramer emerged – if not as a refreshing reminder that divorce was common knowledge – then certainly as one of the forthright proponents to infer that under certain conditions, two basically ‘good people’ could fall desperately out of love to the point where divorce was the only salvation left for either to explore. To complicate matters, there was a child involved. Oh, no…think of the children!!!

Today, it may seem quaintly run-of-the-mill, as far too many couples have gone through the gristmill of bitter separation. But in 1978, Kramer vs. Kramer dared, with great insight and compassion for both sides, to explore the psychological ramifications of divorce, touching upon gender inequality in the war between woman’s vs. man’s parental rights, weighing the unhealthy work/home imbalance, and, finally – and rather frankly – exposing the complexities of being a single parent. Originally, Kate Jackson agreed to do the film. A conflict of interests with producer, Aaron Spelling – as Jackson was then presently appearing on TV’s Charlie's Angels - forced the actress to withdrawal from the project. The part was then shopped around to Faye Dunaway, Jane Fonda and Ali MacGraw, all of whom turned it down. Indeed, the stigma of playing a divorcee was too much, even for Hollywood’s seemingly ‘progressive’ leading ladies. Besides, the character of Joanna was hardly what one might consider a juicy part – requiring extraordinary courage, mostly through silent determination. Having already read for the part of Phyllis, the role eventually played by JoBeth Williams, Streep wanted to audition for Joanna and did so before co-star, Dustin Hoffman, director, Robert Benton and producer, Stanley R. Jaffe.

Streep, however, had definite ideas how to play Joanna who, in the Avery Corman's novel, came off as ‘the bitch’ by default. Streep wanted a more sympathetic Joanna to emerge. Indeed, in her private life, the actress was still reeling from the loss of her fiancé, John Cazale, to cancer. Directing her grief into her work, Streep allowed this fresh wound to shine through her performance. Easily, she won initial praise from her triumvirate of auditioners, and, was cast in the part. Meanwhile, Benton endured another change in his principle line-up after Gail Strickland bowed out – due to artistic differences. Her part was recast with Jane Alexander as Margaret, the empathetic gal/pal who helps ease newly separated Ted (Hoffman) from his self-pity and personal angst.  Depending on the source consulted, Strickland’s departure either had to do with her co-star’s constant badgering behind the scenes, working improvised lines into their rehearsals, or was the result of Hoffman becoming increasingly agitated by her inability to think on her feet during rehearsals, and thus demanding that her part be recast. Certainly, Hoffman had enough cache in Hollywood then to get his own way. But did he actually do it?

Whatever the truth or legend, the conflict between Hoffman and Streep is well documented and worthy of a moment or two’s pause for reflection. Clearly, the two had a tempestuous working relationship throughout the making of Kramer vs. Kramer – Benton, often playing ringmaster to keep the peace. In 1979, Streep went on record, claiming Hoffman had groped her breast during rehearsals. But the more epic bouts in their battle royale focused on the struggle for each actor to find his/her character: Streep, insisting that Joanna be more sympathetic and vulnerable. Infamously devoted to ‘the method,’ Hoffman resented this change to the character and often insulted Streep from the sidelines before shooting a scene, even taunting her with Cazale’s name, in order to draw a better performance out of his co-star. Cruel and very unusual, indeed. Hoffman also, in one of the picture’s pivotal confrontations, hurled a wine glass against the wall without informing Streep of his plans. As the glass, not a breakaway, was actually real crystal, it shattered into a million pieces, winding up as shards in Streep’s hair. Unimpressed by his improvisation, Streep coolly responded, “The next time you do that, I'd appreciate you letting me know.” Nearly two decades after the movie’s success, Streep was at it again, recalling a moment where Hoffman belted her, not as a rehearsed slap, but full on the face, leaving a welt. “And you see it in the movie,” Streep concluded, “It was overstepping.”

Conservatively budgeted at $8 million, Kramer vs. Kramer would go on to earn a whopping $106.3 million in its general release. The picture’s runaway success can be attributed to two things: first, the antagonistic chemistry between Hoffman and Streep, undeniably spilling over into their rich character studies, and second, the public’s general fascination with the subject of ‘divorce.’ Like the foci of prostitution, homosexuality, abortion, drug use and spousal abuse – divorce was not the thing one was used to being discussed around the dinner table. Certainly, it was not the daily digest suitable for one’s popular entertainments. And, while time itself has withered the stigma associated with all of the aforementioned topical hot spots, Kramer vs. Kramer retains an air of authenticity about its milieu in the aftermath of separation and legal haranguing over child custody.  While scarcely as scandalous today, Robert Benton’s screenplay remains considerate about the outcome associated with divorce, empathetic in refusing to take a side or give the audience an escapist ‘it’ll all be alright’ dénouement to satisfy some Hollywood convention. Divorce is complicated – period – and Kramer vs. Kramer never shies away from revealing its many pitfalls.

Plot-wise: Ted Kramer (Dustin Hoffman) is a highly-strung ad executive, who returns home from work one evening to discover that his as harried wife, Joanna (Meryl Streep) has decided to abandon him and their young son, Billy (Justin Henry). Walking into this news in total shock and utter dismay, Ted explodes – then, vows to make the best of his new situation. Only, being a full-time father is not exactly what he had in mind. Not now, just as his career is beginning to take off. And being a parent is not an easy job, as Ted – who frequently wrote off these responsibilities entirely on his wife – is about to find out.  At first, Billy resents everything Ted does. To ease his stress, Ted brings home a date, Phyllis Bernard (JoBeth Williams) who inadvertently winds up naked in the bathroom after she and Ted have slept together, only to find Billy there the next morning. Oh well, Billy’s fairly mature and proves it, by politely introducing himself to his father’s new girl; then, just as cordially, exiting the room.

If Ted's life on the home front seems strained at best, it is positively crumbling at work. After Ted repeatedly puts his son ahead of his career, his boss, Jim O'Connor (George Coe) quietly fires him with the 'best intentions' that Ted will hopefully get his act together. In point of fact, Ted's pretty good at rebounding. He corners a new employer into hiring him just before the Christmas holidays and reinvests in a plan to bridge the gap between him and Billy, with the guidance of mutual family friend and single parent, Margaret Phelps (Jane Alexander).  The wounds from Joanna's abandonment have yet to heal when Joanna resurfaces in both their lives. It seems Joanna has had second thoughts. Having started her life over, she now wants Billy to come and live with her. Ted's bitterness toward Joanna is too strong to give in. So, he petitions the court for custody. Joanna fights back. At this point, neither parent is particularly invested in the best interests of their child...at least, not at first.

In the brutal character assassinations that each lawyer unleashes on the other, Ted and Joanna quickly discover no clear-cut winner to their fight will likely emerge. Ted also learns on the stand that Margaret advised Joanna to leave him. To win the case, Joanna’s lawyer offers a crushing blow to Ted’s defense, suggesting Ted’s firing, his lesser paying ‘new job’ and Billy’s accident, sustained on a jungle gym at the playground, are all reasons why Ted is an unfit parent.  As Joanna has since acquired a position with a sportswear company that nets her a heftier pay check than her husband, the court awards sole custody to her, largely based on the still prevalent assumption that a child needs a mother – first, and foremost. A father’s love comes second here, or perhaps, not at all. Ted pleads with his attorney to appeal, but is cautioned against it, as Billy would have to testify against his own mother. Unable to bring himself to subject his son to this humiliation, Ted withdraws and does not contest custody. And yet, after all this time, Billy and Ted have formed an inseparable father/son bond.

On the morning Ted is expected to hand Billy over to his mom, he prepares them breakfast. Father and son share a tender hug, knowing this will be their last meal together. However, Joanna’s voice on the intercom suddenly asks for Ted to come down to the lobby alone. All bitterness having left him, Ted acquiesces, finding a very hesitant Joanna waiting for him downstairs. Recognizing what a good parent he has been to their son, Joanna explains she has decided not to take Billy from him, but rather, if they can agree upon visitation from time to time and amicably counsel and raise their child under friendlier terms. Startled by her decision, and grateful for it, Ted allows Joanna to go upstairs to his apartment alone and explain the situation to their son. Moments before the elevator doors close, a nervous and tearful Joanna asks Ted, “How do I look?” to which he tenderly replies, “You look terrific.”

Films before Kramer Vs Kramer had glossed over divorce. But Benton’s screenplay is a critical deconstruction of its precepts and consequences; honesty and integrity intermingled throughout.  No fault is ascribed either participant. Joanna is not an unfit mother. She is just at the end of her rope. Ted is not a bad father. He is just inexperienced. What Kramer vs. Kramer does so spectacularly is to illustrate the struggle between separated parents, setting aside their differences for some semblance of order, and to satisfy the love they continue to share for the proper care and upbringing of their child.  Kramer vs. Kramer may not be a ‘feel good’ movie, but it possesses elements of that teary-eyed optimism, best exemplified in its heart-tugging finale. From Ted’s frequent consultations with Margaret to the penultimate moment where he and Joanna both realize they cannot – and will not – allow their bitter animosity to destroy their son, Kramer vs. Kramer sounds a disquieting wake-up call for all divorced couples with children.  Fight among yourselves – though, only if you must. But leave the kids out of it! 

Kramer Vs. Kramer was an odd choice for Sony to launch their foray into Blu-ray back in 2006. Even so, its decades’ old 1080p transfer continues to hold up, precisely because Sony – one of the early proponents of the hi-def format – paid so much attention to remastering their deep catalog from the outset.  Visually, there are not a lot of opportunities to really show off hi-def to its best advantage. Kramer Vs. Kramer is a low budget, intimate family drama, shot mostly under natural lighting conditions by the great Néstor Almendros. It has the look of reality, or rather ‘movie reality’ circa 1979, with lots of grain and a residual softness.  Nevertheless, in hi-def, this transfer reveals some very impressive colors, accurate flesh tones, good solid contrast and detail that is refined. The 5.1 DTS is a bit disappointing.  Again, this is a primarily dialogue-driven movie with few – if any – opportunities to show off.  Extras are limited to an audio commentary from Hoffman and Benton and an all-too-brief featurette. Bottom line: although Kramer vs. Kramer is a time capsule from another epoch, its storytelling holds up because Hoffman and Streep have taken the time to be genuine in their performances. Highly recommended.

FILM RATING (out of 5 - 5 being the best)

4

VIDEO/AUDIO

4

EXTRAS

2