Rewind – 1979 in Film: Kramer vs. Kramer

Recognising a piece of cinema which taps into its time and era with a narrative perfectly relevant and timely is something the Academy Awards do best. When a film hits with just the right story at just the right time, it often becomes unstoppable in the race for Best Picture. Such was the case with Kramer vs. Kramer – a film which highlighted the collapse of the American family unit and the destruction and chaos divorce was having on so many husbands, wives, and children.

With its impeccable cast and heartbreaking narrative, it was a proposition for the Academy they could not resist. It was a film many could relate to featuring characters many would have seen themselves in. Perhaps you were the jilted partner who had an unforeseen breakup thrust upon them. Perhaps you were the lost soul who had no choice but to flee a damaging relationship in order to learn who you were. Or perhaps you were the child caught up in the drama of your parent’s divorce and the messiness of a custody battle. Whatever the reasons, Kramer vs. Kramer was a film which was easy to connect, relate, and sympathise with.

“Kramer vs. Kramer personified these changing times with a narrative so perfectly timely and relative to its audience, and the results were astounding.”

The late 1970s/early 1980s represented a cultural shift in America and around the globe, in regards to the ideas of family life. With divorce becoming the norm for a staggering number of families, parents were being forced to reevaluate how their children would be raised. Challenging the very notions of motherhood and fatherhood. Kramer vs. Kramer personified these changing times with a narrative so perfectly timely and relative to its audience. And the results were astounding.

On a relatively small budget of only $8 million, Kramer vs. Kramer would earn over $106 million at the U.S. box-office to become the highest-grossing film of 1979. Just take a moment to appreciate this fact. An inexpensive familial drama, made for less than $10 million, was the most successful film of this year. It managed to outgross mega-blockbuster films like Alien, Star Trek: The Motion Picture, and Rocky II. That kind of result is unheard of nowadays. It’s clear the film struck a chord with the audience of this era, and those box-office dollars speak for themselves.

While it was enormously popular at the time, Kramer vs. Kramer is often regarded as one of the more contentious Best Picture winners of this era. For one simple reason – it beat Apocalypse Now. Many call this one of the Academy’s biggest blunders, and, to some degree, I see their point. Apocalypse Now is a genuine classic piece of cinema. It was bold and daring, with some of the most indelible images ever committed to film.

“Writer/director Benton crafts his screenplay and his film with themes that are fresh and relevant, and keen observation for portraying this deeply affecting issue with true understanding.”

Hoffman gives the greatest performance of his career, as the father desperately attempting to make sense of his world being turned upside down. His scenes with the adorable Henry are truly magical. Which feel even more sublime when you learn a lot of their work was improvised. Their father-son relationship feels terrifically genuine. And Henry delivers one of the finest young actor performances the screen has ever known.

The film ultimately heralded the arrival of Streep as the greatest actress of her generation. Particularly in those devastating courtroom scenes, which were re-written by Streep herself. It would have been easy to make Joanna a villain. After all, she does essentially abandon her child for seemingly frivolous reasons. But Streep finds the pathos in her character, and the motivations behind her unspeakable actions become remarkably understandable.

That’s ultimately the film’s crowning glory. It shies away from ever really taking sides between the warring parents, and we are given the opportunity to see and understand both Joanna and Ted’s motivations and perspectives. Naturally, we warm to Ted, and he gets the lion’s share of sympathy. However, as we learn more of Joanna’s broken psyche, it becomes almost impossible to truly side with just one parent. When we realise how deeply damaged and lost a mother had to be where seemingly her only option was to abandon her young son. Ultimately, we leave the film finding empathy and understanding for both parents, and that’s a difficult task many filmmakers would have failed to achieve.

Watch Video: The Best 50 Films of 1979

Writer/director Benton crafts his screenplay and his film with themes that are fresh and relevant, and keen observation for portraying this deeply affecting issue with true understanding. There’s no judgement from Benton of any of his characters, and that’s precisely what this film needs to succeed. His dialogue is superbly written, with scenes and scenarios many will instantly identify with. But, most of all, he fills this film with an enormous heart and warmth that’s hard not to be swept away by.

Was there perhaps a “better” choice for the Academy this year? Of course. There often is. But don’t let that take anything away from the beautifully touching experience Kramer vs. Kramer delivers. It’s a film still as timely as ever, and a film that still manages to pack an enormous emotional punch. Its sensational performances are still glorious to behold, and, whether many agree with me or not, it’s a film that absolutely deserved to take home Best Picture.