Ted recupera seu relacionamento com seu filho quando sua esposa o deixa, mas a batalha pela custódia agrava as feridas da separação.Ted recupera seu relacionamento com seu filho quando sua esposa o deixa, mas a batalha pela custódia agrava as feridas da separação.Ted recupera seu relacionamento com seu filho quando sua esposa o deixa, mas a batalha pela custódia agrava as feridas da separação.
- Direção
- Roteiristas
- Artistas
- Ganhou 5 Oscars
- 41 vitórias e 26 indicações no total
- Phyllis Bernard
- (as Jobeth Williams)
Avaliações em destaque
Overall, nice story, beautifully scripted and superbly acted. A must watch.
**** (out of four)
Toss in parenthood for Dustin Hoffman.
The movie is textured and deep. It follows his internal relationship as he tries to understand and live with what's going on; his relationship with Meryl Streep (and her friend, who becomes his friend), and his the relationship with his son.
While Meryl Streep was great, did she set the record for least screen time to win an Oscar? She sure can deliver when she is on, though.
"Kramer vs. Kramer" is one of the first of these dysfunctional family dramas that would continue to be so popular throughout the 1980s, and it's one of the best. It gets a rather bum rap now, because it's known as the film that beat "Apocalypse Now" for the 1979 Best Picture Academy Award, but comparing these two films is like comparing a banana to a marinated chicken breast: they're not remotely the same, but can't we enjoy them both? Director/writer Robert Benton doesn't try to do anything fancy with his movie; its strength lies in its performances, those of Dustin Hoffman and Meryl Streep particularly, playing a divorced couple fighting childishly and selfishly over their son. The courtroom scene in which they duke it out for custody, and in which each is forced to hurt the other in terrible ways, is devastating, and feels authentic. The movie doesn't present Hoffman's solid dad as a hero, or Streep's straying mom as a villain. They're neither good or bad as people -- they're simply bad at being married.
The film is tear-jerky at the finale, but not in a manipulative way. It earns its right to elicit sobs.
Grade: A
Oscars Best Picture Winners, Ranked
Oscars Best Picture Winners, Ranked
Você sabia?
- CuriosidadesDustin Hoffman planned the moment when he throws his wine glass against the wall during the restaurant scene with Meryl Streep. The only person he warned in advance was the cameraman, to make sure that it got in the shot. Streep's shocked reaction was real, but she stayed in character long enough for writer and director Robert Benton to yell cut. In the documentary on the DVD, she recalls yelling at Hoffman as soon as the shot was over for scaring her so badly.
- Erros de gravaçãoThe trees are green in scenes which supposedly take place in New York at Halloween and Christmas.
- Citações
Billy Kramer: Daddy?
Ted Kramer: Yeah?
Billy Kramer: I'm sorry.
Ted Kramer: I'm sorry too. I want you to go to sleep because it's really late.
Billy Kramer: Daddy?
Ted Kramer: Now what is it?
Billy Kramer: Are you going away?
Ted Kramer: No. I'm staying here with you. You can't get rid of me that easy.
Billy Kramer: That's why Mommy left, isn't it? Because I was bad?
Ted Kramer: Is that what you think? No. That's not it, Billy. Your mom loves you very much... and the reason she left has nothing to do with you. I don't know if this will make sense, but I'll try to explain it to you. I think the reason why Mommy left... was because for a long time... I kept trying to make her be a certain kind of person. A certain kind of wife that I thought she was supposed to be. And she just wasn't like that. She was... She just wasn't like that. I think that she tried for so long to make me happy... and when she couldn't, she tried to talk to me about it. But I wasn't listening. I was too busy, too wrapped up... just thinking about myself. And I thought that anytime I was happy, she was happy. But I think underneath she was very sad. Mommy stayed here longer than she wanted because she loves you so much. And the reason why Mommy couldn't stay anymore... was because she couldn't stand me. She didn't leave because of you. She left because of me. Go to sleep now because it's really late, okay? Good night. Sleep tight.
Billy Kramer: Don't let the bedbugs bite.
Ted Kramer: See you in the morning light.
Billy Kramer: Daddy?
Ted Kramer: Yeah?
Billy Kramer: I love you.
Ted Kramer: I love you too.
- Cenas durante ou pós-créditosThe synthesizer fanfare by Suzanne Ciani usually heard over the Columbia Pictures logo was absent. Instead, for this film the whole logo sequence is silent.
- Versões alternativasWhen aired on commercial TV, the shots of Phyllis naked, and her unexpected interaction with Billy, are darkened completely. Most commercial prints also omit the sound of Billy urinating.
- ConexõesFeatured in Sneak Previews: Take 2: Love Stories (1979)
- Trilhas sonorasSonata for Trumpet and Strings: 2. Adagio 3. Presto
Henry Purcell
Adapted by John Kander
Conducted by Paul Gemignani
Principais escolhas
Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- Kramer contra Kramer
- Locações de filme
- The Mall, Central Park, Manhattan, Nova Iorque, Nova Iorque, EUA(where Billy learns to ride a bike, and is reunited with Joanna)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 8.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 106.260.000
- Faturamento bruto mundial
- US$ 106.260.000