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But she delivered it with “the same sense of richness” each time, even when the cameras turned on Dustin for his reaction. Unwittingly, Dustin had created a new moment, one that Benton wanted in the scene.“Part of the pleasure she must have taken is showing to Dustin she didn’t need to be slapped,” the director said. As Joanna begins to falter, he goes in for the kill. So, hadn’t she failed at the most important relationship in her life? Dustin had instructed her to look at him when she heard that line. He turned the cameras around and had Meryl act the cross-examination again, and this time he recorded Dustin’s reactions. It was Ted Kramer telling Joanna Kramer, “No, you didn’t fail as a wife.Right before their entrance, Dustin slapped her hard across the cheek, leaving a red mark. She’s going to bring us up with the Screen Actors Guild. Clutching Joanna’s trench coat, she pleaded with Ted, “Don’t make me go in there!Benton heard the slap and saw Meryl charge into the hallway. ” As far as she was concerned, she could conjure Joanna’s distress without taking a smack to the face, but Dustin had taken extra measures. Benton filmed the speech in a wide shot first, reminding Meryl to save her energy for the close-up.“She could have delivered anything to anybody at any time.”They wrapped for the day. Hunching over her on his cane, he asks her to name the “longest personal relationship” of her life. “It did not succeed,” she answers weakly.“Not ” It’s at that moment we see the “whole human being” Joanna believes herself to be crumble before our eyes, trapped like a sea creature in a fisherman’s net. Now, with a fat finger waving three inches from her face, Meryl heard the words “Were you a failure at the one most important relationship in your life? When she did, he gave a little shake of his head, as if to say, “No, Meryl, you weren’t a failure.”Who exactly was up on the stand? No matter what you do, the pain is always there in some recess of your mind, and it affects everything that happens afterwards. But, just as a child does, I think you can assimilate the pain and go on without making an obsession of it.”When Benton saw Meryl glance to the side, he noticed Dustin shaking his head. You didn’t fail as a mother.” Amid the rancor of the court proceeding, it was a final gesture of the love they once had.When they returned to the Tweed Courthouse, it was to shoot one of the most wrenching scenes in the film: Joanna’s cross-examination by Ted’s lawyer, John Shaunessy, played with cowboy-like bluster by Howard Duff. Before the take, Dustin had gone over to the witness stand to talk to Meryl. Was it the actress who had stormed into the hotel room, guns blazing, telling three powerful men to re-write their screenplay? As she sat on the witness stand, defending her life, was she thinking about John? They filmed the remaining testimonies, and the court sequence was in the can. ”“Oh, I did them for years,” the woman said, “but I burned out. It was just too painful.” She added cheerfully, “I really love what I’m doing now.”“What?Jaffe took the novel to the director Robert Benton, best known for co-writing On the first day of principal photography, everything was hushed on the Twentieth Century Fox soundstage at 54th Street and 10th Avenue in Manhattan.Benton was so anxious he could hear his stomach grumbling, which only made him more anxious, since he worried the sound might wind up in the shot.
Meryl spoke with her mother, who told her, “All my friends at one point or another wanted to throw up their hands and leave and see if there was another way of doing their lives.”She sat in a playground in Central Park and watched the Upper East Side mothers with their perambulators, trying to outdo one another. She thought about Joanna Kramer—who after the movie came out, “the more I felt the sensual reason for Joanna’s leaving, the emotional reasons, the ones that aren’t attached to logic. In contrast to most films, they would shoot the scenes in order, the reason being their seven-year-old co-star.(“Feminists will applaud me,” she says.) Ted overcomes his shock and gets back into the swing of single life. It is then that Joanna does the unthinkable: she returns from California and tells Ted she wants Billy back.The ensuing custody battle, which gives the novel its title, lays bare the ugliness of divorce proceedings and the wounds they allow people to inflict on each other.even hit the bookstores, the manuscript fell into the hands of Richard Fischoff, a young film executive who had just accepted a job with the producer Stanley Jaffe.Ted and Joanna Kramer, Fischoff thought, were like Benjamin and Elaine in 10 years later, after their impulsive union has collapsed from the inside.
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He should look like Meryl: a constant reminder of the absent Joanna. Some of the marketing executives at Columbia thought she wasn’t pretty enough. They thought that she was a character actress,” Richard Fischoff said, describing exactly how Meryl saw herself.