DESCRIPTION : Here for sale is an almost 40 years old EXCEPTIONALY RARE and ORIGINAL Jewish Judaica POSTER for the ISRAEL 1977 PREMIERE of ALAN J. PAKULA legendary and ACADEMY AWARDS PRIZE WINNER - POLITICAL THRILLER - SUSPENSE film " ALL THE PRESIDENT'S MEN" . Starring ROBERT REDFORD and DUSTIN HOFFMAN to name only a few in the cinema-movie hall " CINEMA SHARON" in the small rural town of NATHANYA in ISRAEL . "CINEMA SHARON" , A local Israeli version of "Cinema Paradiso" was printing manualy its own posters , And thus you can be certain that this surviving copy is ONE OF ITS KIND. Fully DATED 1977 . Text in HEBREW and ENGLISH . Please note : This is NOT a re-release poster but PREMIERE - FIRST RELEASE projection of the film , One year after its release in 1976 in USA and worldwide . The ISRAELI distributors of the film have given it an amusing and quite archaic Hebrew text .GIANT size around 28" x 38" ( Not accurate ) . Printed in red and blue on white paper . The condition is very good . Folded twice. ( Pls look at scan for accurate AS IS images ) Poster will be sent rolled in a special protective rigid sealed tube.
AUTHENTICITY : This poster is guaranteed ORIGINAL from 1977 ( Fully dated ) , NOT a reprint or a recently made immitation. , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.
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SHIPPMENT : SHIPP worldwide via registered airmail is $18. Poster will be sent rolled in a special protective rigid sealed tube. Handling within 3-5 days after payment. Estimated duration 14 days.
All the President's Men is a 1976 American political thriller film directed by Alan J. Pakula. The screenplay by William Goldman is based on the 1974 non-fiction book of the same name by Carl Bernstein and Bob Woodward, the two journalists investigating the Watergate scandal for The Washington Post. The film starred Robert Redford and Dustin Hoffman as Woodward and Bernstein, respectively; it was produced by Walter Coblenz for Redford's Wildwood Enterprises. All the President's Men is the third installment of what informally came to be known as Pakula's "paranoia trilogy". The other two films in the trilogy are Klute (1971) and The Parallax View (1974). Contents 1 Plot2 Cast3 Differences from the book4 Production5 Reception 5.1 Accolades6 "All The Presidents Men" Revisited7 Notes8 References9 External links Plot In June 1972, a security guard (Frank Wills, playing himself) at the Watergate complex finds a door kept unlocked with tape. He calls the police, who find and arrest five burglars in the Democratic National Committee headquarters within the complex. The next morning, The Washington Post assigns new reporter Bob Woodward (Robert Redford) to the local courthouse to cover the story, which is thought to be of minor importance. Woodward learns that the five men, four Cuban-Americans from Miami and James W. McCord, Jr., had bugging equipment and have their own "country club" attorney. At the arraignment, McCord identifies himself in court as having recently left the Central Intelligence Agency and the others also have CIA ties. Woodward connects the burglars to E. Howard Hunt, a former employee of the CIA, and President Richard Nixon's Special Counsel Charles Colson. Carl Bernstein (Dustin Hoffman), another Post reporter, is assigned to cover the Watergate story with Woodward. The two are reluctant partners, but work well together. Executive editor Benjamin Bradlee (Jason Robards) believes their work is incomplete, however, and not worthy of the Post's front page. He encourages them to continue to gather information. Woodward contacts "Deep Throat" (Hal Holbrook), a senior government official, an anonymous source he has used in the past. Communicating through copies of The New York Times and a balcony flowerpot, they meet in a parking garage in the middle of the night. Deep Throat speaks in riddles and metaphors about the Watergate break-in, but advises Woodward to "follow the money." Over the next few weeks, Woodward and Bernstein connect the five burglars to thousands of dollars in diverted campaign contributions to Nixon's Committee to Re-elect the President (CRP, or CREEP). Bradlee and others at the Post dislike the two young reporters' reliance on unnamed sources like Deep Throat, and wonder why the Nixon administration would break the law when the President is likely to defeat Democratic nominee George McGovern. Through former CREEP treasurer Hugh W. Sloan, Jr. (Stephen Collins), Woodward and Bernstein connect a slush fund of hundreds of thousands of dollars to White House Chief of Staff H. R. Haldeman—"the second most important man in this country"—and former Nixon Attorney General John N. Mitchell, now head of CREEP. They learn that CREEP used the fund to begin a "ratfucking" campaign to sabotage Democratic presidential candidates a year before the Watergate burglary, when Nixon was behind Edmund Muskie in the polls. Bradlee's demand for thoroughness forces the reporters to obtain other sources to confirm the Haldeman connection. When the White House issues a non-denial denial of the Post's above-the-fold story, the editor thus continues to support them. At the subtle climax, Woodward again meets secretly with Deep Throat, who finally reveals that the Watergate break-in and cover-up was indeed masterminded by Haldeman. Deep Throat also claims that the cover-up was not to hide the other burglaries or of their involvement with CREEP, but to hide the "covert operations" involving "the entire U.S. intelligence community", and warns that Woodward, Bernstein, and others' lives are in danger. When Woodward and Bernstein relay this to Bradlee, he urges the reporters to continue despite the risk and Nixon's re-election. In the final scene, set on January 20, 1973, Bernstein and Woodward type out the full story, with the TV in their office showing Nixon taking the Oath of Office, for his second term as President of the United States, in the foreground. A montage of Watergate-related teletype headlines from the following years is shown, ending with Nixon's resignation and the inauguration of Vice President Gerald Ford on August 9, 1974. Cast Dustin Hoffman as Carl BernsteinRobert Redford as Bob WoodwardJack Warden as Harry M. RosenfeldMartin Balsam as Howard SimonsHal Holbrook as "Deep Throat"Jason Robards as Ben BradleeJane Alexander as Judy Hoback MillerMeredith Baxter as Deborah Murray SloanNed Beatty as Martin DardisStephen Collins as Hugh W. Sloan, Jr.Penny Fuller as Sally Aiken (based on Marilyn Berger)Penny Peyser as Sharon LyonsLindsay Crouse as Kay EddyRobert Walden as Donald SegrettiF. Murray Abraham as Sgt. Paul LeeperDavid Arkin as Eugene BachinskiRichard Herd as James W. McCord, Jr. (Watergate Burglar)Henry Calvert as Bernard Barker (Watergate Burglar)Dominic Chianese as Eugenio Martínez (Watergate Burglar)Ron Hale as Frank Sturgis (Watergate Burglar)Nate Esformes as Virgilio R. Gonzales (Watergate Burglar)Nicolas Coster as MarkhamJoshua Shelley as Al LewisRalph Williams as Ray SteubenGene Lindsey as Alfred D. BaldwinJohn McMartin as Foreign EditorPolly Holliday as Dardis' secretaryCarol Trost as Ben Bradlee's SecretaryJames Karen as Hugh Sloan's lawyerBasil Hoffman as Assistant metro editorStanley Bennett Clay as Assistant Metro EditorJohn McMartin as Foreign EditorJohn Devlin as Metro EditorPaul Lambert as National EditorRichard Venture as Assistant Metro EditorJohn Furlong as News Desk EditorValerie Curtin as Miss MillandJess Osuna as Joe (FBI Agent)Allyn Ann McLerie as Carolyn AbbottChristopher Murray as Photo AideFrank Wills as Himself (Real Security Guard who was at the Watergate Scandal)Cara Duff-MacCormick as Tammy Ulrich (uncredited)John Randolph as John Mitchell (voice) (uncredited) Differences from the book Unlike the book, the film itself only covers the first seven months of the Watergate scandal, from the time of the break-in to Nixon's second inauguration on January 20, 1973. The film introduced the catchphrase "follow the money", which was absent from the book, or any documentation of Watergate. Production Robert Redford bought the rights to Woodward and Bernstein's book in 1974 for $450,000 with the notion to adapt it into a film with a budget of $5 million. Ben Bradlee realized that the film was going to be made regardless of whether he approved of it or not and felt that it made "more sense to try to influence it factually". The executive editor of the Washington Post hoped that the film would show newspapers "strive very hard for responsibility". William Goldman was hired by Redford to write the script in 1974. He has said Bob Woodward was extremely helpful to him but Carl Bernstein was not, and that his crucial decision as to structure was to throw away the second half of the book. Goldman delivered his first draft in August 1974 and Warners agreed to finance the movie. Redford later claimed he was not happy with Goldman's first draft. Woodward and Bernstein also read it and did not like it. Redford asked for their suggestions but Bernstein and then-girlfriend writer Nora Ephron wrote their own draft. Redford showed this draft to Goldman, suggesting there might be some material they could use; Goldman later called Redford's acceptance of the Bernstein-Ephron draft a "gutless betrayal". Redford later expressed dissatisfaction with the Ephron-Bernstein draft, saying, "a lot of it was sophomoric and way off the beat". According to Goldman, "in what they wrote, Bernstein was sure catnip to the ladies". He also says a scene of Bernstein and Ephron's made it to the final film, a bit where Bernstein outfakes a secretary in order to see someone—something which didn't happen in real life. Alan J. Pakula was then hired to direct and requested rewrites from Goldman. Redford and Pakula held all-day sessions working on the script. The director also spent hours interviewing editors and reporters, taking notes of their comments. Claims that Pakula and Redford rewrote the screenplay have been debunked, however, after an investigation into the matter by Richard Stayton in Written By magazine. Stayton compared several drafts of the script, including the final production draft, and concluded that Goldman was properly credited as the writer and that the final draft had "William Goldman's distinct signature on each page." Dustin Hoffman and Redford visited the Post offices for months, sitting in on news conferences and conducting research for their roles. The Post denied the production permission to shoot in its newsroom and so set designers took measurements of the newspaper's offices, photographed everything, and boxes of trash were gathered and transported to sets recreating the newsroom on two soundstages in Hollywood's Burbank Studios at a cost of $200,000. The filmmakers went to great lengths for accuracy and authenticity, including making replicas of phone books that were no longer in existence. Nearly 200 desks at $500 apiece were purchased from the same firm that sold desks to the Post in 1971. The desks were also colored the same precise shade of paint. The production was supplied with a brick from the main lobby of the Post so that it could be duplicated in fiberglass for the set. Principal photography began on May 12, 1975 in Washington, D.C. The billing followed the formula of James Stewart and John Wayne in John Ford's The Man Who Shot Liberty Valance (1962), with Redford billed over Hoffman in the posters and trailers and Hoffman billed above Redford in the film itself. Reception All the President's Men grossed $70.6 million at the box office. The film received universal acclaim, currently holding a 92% "fresh" rating on review aggregator website Rotten Tomatoes based on 51 reviews; the consensus reads: "A taut, solidly acted paean to the benefits of a free press and the dangers of unchecked power, made all the more effective by its origins in real-life events." In 2007, it was added to the AFI's 100 Years... 100 Movies (10th Anniversary Edition) list at #77. AFI also named it #34 on its America's Most Inspiring Movies list and #57 on the Top 100 Thrilling Movies. The characters of Bob Woodward and Carl Bernstein shared the rank of #27 (Heroes) on AFI's 100 Years... 100 Heroes and Villains list. Entertainment Weekly ranked All the President's Men as one of its 25 "Powerful Political Thrillers". In 2010, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". Accolades Award Category Winner/Nominee Result Academy Awards Best Art Direction George Jenkins George Gaines Won Best Director Alan J. Pakula Nominated Best Editing Robert L. Wolfe Best Picture Walter Coblenz Best Adapted Screenplay William Goldman Won Best Sound Arthur Piantadosi James E. Webb Les Fresholtz Dick Alexander Best Supporting Actor Jason Robards Best Supporting Actress Jane Alexander Nominated American Cinema Editors (ACE) Best Edited Feature Film Robert L. Wolfe BAFTA Film Awards Best Actor Dustin Hoffman Best Cinematography Gordon Willis Best Director Alan J. Pakula Best Film Best Editing Robert L. Wolfe Best Production Design/Art Direction George Jenkins Best Screenplay William Goldman Best Sound Track Arthur Piantadosi James E. Webb Les Fresholtz Dick Alexander Milton C. Burrow Best Supporting Actor Jason Robards Best Supporting Actor Martin Balsam Directors Guild of America Outstanding Directorial Achievement Alan J. Pakula Golden Globe Awards Best Director Alan J. Pakula Best Picture Best Screenplay William Goldman Best Supporting Actor Jason Robards Kansas City Film Critics Best Supporting Actor Jason Robards Won National Board of Review Best Director Alan J. Pakula Top 10 Films of the Year 1st place Best Supporting Actor Jason Robards Won New York Film Critics Best Director Alan J. Pakula Best Film Best Supporting Actor Jason Robards Writers Guild of America (WGA) Best Adapted Screenplay "All The Presidents Men" Revisited Sundance Productions, which Redford owns, produced a two-hour documentary entitled "All The Presidents Men" Revisited. Broadcast on Discovery Channel Worldwide on March 24, 2013, the documentary focuses on the Watergate case and the subsequent film adaptation, simultaneously retelling how the Washington Post broke Watergate and how the scandal unfolded, going behind the scenes of the film and answering such questions as how Watergate would be covered in the present day, whether such a scandal could happen again and who the real Richard Nixon was. The revelation of W. Mark Felt as Deep Throat was also covered. Footage from the film is used, as well as interviews with not only central characters and actors such as Woodward, Bernstein, Redford, Hoffman, Bradlee and John Dean but also media stars such as Tom Brokaw, Jill Abramson, Rachel Maddow and Jon Stewart. The documentary earned a 2013 Emmy nomination for Outstanding Documentary Or Nonfiction Special. All the President’s Men (1976) Director: Alan J Pakula Entertainment grade: B+ History grade: B+ In the early 1970s, the Watergate scandal rocked the American administration to its foundations. Two investigative journalists, Carl Bernstein and Bob Woodward of the Washington Post, uncovered a conspiracy to cover up abuses of power leading all the way to the Oval Office. People The film begins, as did the Watergate affair, with five men breaking into the headquarters of the Democratic National Committee (DNC) on 1 June 1972. The DNC was based in the Watergate office, hotel and residential complex in the Foggy Bottom neighbourhood of Washington DC. The late Frank Wills, the real-life security guard who discovered the break-in, played himself in this movie. The story is first taken up by junior journalist Bob Woodward (Robert Redford) as a minor incident. Soon, though, it begins to bloat out in all directions. Ben Bradlee (Jason Robards), the executive editor of the Washington Post, brings the more experienced Carl Bernstein (Dustin Hoffman) on board to work with him. Investigation Woodward and Bernstein begin to dig – and here students of the history of journalism may marvel at how immensely more difficult all this investigative work was in the days before mobile phones and the internet, especially when at one point they have to go through all the hard-copy borrowing records at the Library of Congress by hand. The film shows correctly that their most mysterious source was known as Deep Throat, a high government official turned whistleblower, nicknamed after a notorious pornographic film of the time. The film never reveals who Deep Throat was, but that’s fair enough: his identity was not publicly confirmed for almost 30 years after it was made. In 2005, former FBI associate director Mark Felt finally admitted it had been him. Facebook Twitter Pinterest Woodward meets the informant Deep Throat in a dark car park. The source was years later revealed to have been the FBI’s second-in-command, Mark Felt. Photograph: Allstar/Warner Bros Mystery Thanks to Deep Throat and other sources, Woodward and Bernstein are soon led to the appropriately acronymed Committee to Re-Elect the President (CRP, pronounced Creep) and some remarkable characters – including E Howard Hunt, a disillusioned former CIA officer, and FBI agent G Gordon Liddy. Deep Throat is particularly memorable on Liddy. “I was at a party once, and Liddy put his hand over a candle, and he kept it there,” Deep Throat says. “He kept it right in the flame until his flesh was burned. Somebody said, ‘What’s the trick?’ And Liddy said, ‘The trick is not minding.’” Great as this story is, any film buff will instantly spot that it has been borrowed from the opening scenes of Lawrence of Arabia. The real Carl Bernstein, left, and Bob Woodward of the Washington Post; they won the Pulitzer prize for their Watergate investigation. Photograph: AP Consequences As Woodward and Bernstein continue to dig, they uncover extensive evidence of dirty tricks and activity the tricksters call “ratfucking”: stuffing ballot boxes, planting spies in the opposition and running up fake campaign literature. The conspiracy seems to suck in nearly everyone in Washington. In real life, 69 people were indicted as a result of the Watergate investigations, and 48 pleaded or were found guilty. Plus, of course, President Richard M Nixon resigned in disgrace on 9 August 1974 – still a unique event in American history. Following his resignation, US President Richard Nixon bids farewell to White House staff on 9 August 1974, as his wife Pat and daughter Tricia look on. Photograph: AP Dialogue In an iconic scene, Deep Throat tells Woodward and Bernstein to “Follow the money”. So catchy and apt has this phrase proved that it is now often attributed to Felt, even though he never said it. It does not appear in the Washington Post coverage of the affair, nor in Woodward and Bernstein’s book, also called All the President’s Men. In fact, screenwriter William Goldman – who also wrote Butch Cassidy and the Sundance Kid, The Princess Bride and Marathon Man – invented the line for the movie. Verdict Despite the twists, turns and exceptionally complex detail of the Watergate scandal, All the President’s Men manages to make it both comprehensible and watchable – with a few flashy fictional touches to gussy up the facts. 'All the President's Men' By Matt Slovick WashingtonPost.com Staff Robert Redford (left) and Dustin Hoffman played Post reporters Bob Woodward and Carl Bernstein. See more scenes . . . Impartiality aside, no film blends the elements of journalism and Washington intrigue more compellingly than "All the President's Men," the story of two Washington Post reporters who helped take down the No. 1 resident on Pennsylvania Avenue, transforming both politics and journalism. Not only did The Post win a Pulitzer for its Watergate coverage, but this film was also nominated for an Academy Award as Best Picture (it lost to "Rocky"). The story is as riveting today as it was 20 years ago. What's dated are the dial telephones, typewriters and haircuts. The movie opens with typewriter keys thunderously hammering on paper with the date of June 1, 1972, the day President Nixon returned from China. Sixteen days later the infamous break-in occurred. The Post newsroom now has computers (many with Internet access) and touch-tone phones with voice mail. Also, people smoked in the newsroom, which would be inconceivable in any office today. On WashingtonPost.com: · The Watergate break-in took place 25 years ago. This special feature includes a timeline, the key players and other information about the most famous political scandal in American history. · Another special feature highlights Journalists in the Movies. Post Stories: Before filming began, Redford, Hoffman and others visited The Post newsroom. Twenty years after the break-in (here's the original story), The Washington Post ran retrospectives about Watergate: a story about this movie, ""Journalism's Finest 2 Hours and 16 Minutes," speculation on the probable identity of Deep Throat and editor Ben Bradlee's reflections on those pivotal 26 months. Washington Sites and Mentions: The Watergate; Hotel Washington; Lincoln Memorial; Jefferson Memorial; Library of Congress; Capitol; White House; The Washington Post parking lot; Department of Justice Building; Lafayette Square; Kennedy Center; Apt. 519 Webster House, 1718 P St. NW (Woodward's apartment in the film, but he actually lived in No. 617); 9702 Montauk Ave., Bethesda, Md. (former home of bookkeeper Judy Hoback); San Souci restaurant. It Wasn't Washington: The scenes in The Washington Post newsroom were shot on a sound stage (you couldn't expect a news operation to shut down so a few movie scenes could be shot, could you?). The set builders actually took newspapers, trash and other objects from The Post to make the set more realistic. Those blue and orange filing cabinets in the film are no longer in the newsroom. In her book "Personal History," Katharine Graham, who was president and publisher of The Post at this time, wrote: "In the end, we didn't allow filming in the newsroom. ... Instead, an exact duplicate of The Post's newsroom, including the stickers on Ben's secretary's desk, was created in Hollywood (for a mere $450,000 it was reported), and in the interests of authenticity, several tons of assorted papers and trash from the desks throughout our newsroom were shipped to California for props. We did cooperate to the extent of allowing the filmmakers to shoot the entrance to the newspaper building, elevators and certain production facilities, as well as a scene in the parking lot." Film Background: The movie was based on the book of the same name by Woodward and Bernstein. However, city editor Barry Sussman, who played a vital role in helping the two young reporters, was written out of the film. And in his memoirs published in 1995, Bradlee wrote that Howard Simons, the late Post managing editor, "never really got over his resentment" at feeling that his role in Watergate was "fatally shortchanged" in "All the President's Men." "Our relationship . . . was never the same after the film." Who Is Deep Throat? Only a few people know the true identity of Deep Throat. Woodward promised that he would use the source only as deep background. The nickname comes from the controversial, X-rated movie "Deep Throat," which was in theaters at the time. "Deep Throat" was not filmed in Washington. What Happened to . . .: We don't want to take up valuable cyberspace with a list of everyone who received a conviction. We all know that Nixon didn't live at the White House after Aug. 9, 1974. Woodward is still at The Post as assistant managing editor of investigations. He has written a number of books, most recently "The Choice" about Bill Clinton and Bob Dole. Bradlee retired from The Post in 1991 but is listed as a vice president at large. Bernstein left the newspaper shortly after Watergate to become bureau chief of ABC News, where he stayed less than two years. He hasn't been permanently attached to any news organization since that time. He writes books and occasional freelance articles. He recently wrote a book about Pope John Paul II. Plot: Washington Post reporters Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman) are assigned to cover a routine burglary at the National Democratic Committee headquarters at the Watergate offices (read their story from June 19, 1972). Two of the burglars have the phone number of Howard Hunt, a White House aide and CIA consultant. Woodward and Bernstein start digging. Interviews with other aides and cabinet members uncover contradictory stories. Their investigation is helped by a high-level source called Deep Throat (Hal Holbrook), who would meet Woodward in a dark parking garage. The reporters are constantly challenged by Ben Bradlee (Jason Robards), The Post's executive editor. When some of the other editors question the newspaper's coverage, Bradlee stands by his young reporters and prints the articles. Their investigation uncovers involvement all the way up to President Richard Nixon. And as the White House continues to deny any wrongdoing, The Post continues to print story after damaging story. The Watergate scandal eventually helps take down Nixon, who resigns in August 1974. Memorable Scenes: · Woodward's first meeting with Deep Throat, who lights a cigarette in a dark, dismal parking garage. · Bernstein wheedles himself into house of Judy Hoback (the bookkeeper for the Committee for the Re-Election of the President) and ends up staying for hours drinking coffee and subtly interrogating her. · The reporters need another confirmation before Bradlee will run the story implicating H.R. Haldeman, the president's chief of staff and the "second most powerful man in Washington." Bernstein calls a source and says he will count to 10. If he reaches 10 and the source is still on the line, that will verify the Haldeman is involved. The source stays on the line. He rushes across the newsroom to tell Woodward. The two then race to the elevator to tell Bradlee, who is leaving. Bradlee gives the okay to print the story. · Woodward and Bernstein turn up the radio and type notes to each other after Deep Throat tells them their lives are in danger and that they are probably being bugged. Memorable Lines: · "Follow the money": Deep Throat to Woodward. · "Print that baby": Bradlee to Woodward and Berstein about the story that will implicate John Mitchell, the former attorney general. · "Nothing's riding on this except the first amendment of the Constitution, freedom of the press and maybe the future of this country": Bradlee to Woodward and Bernstein after they discovered the mass involvement in the cover-up. Rating: PG for language. Release Date: 1976 (by Warner Bros.). Running Time: 2 hours, 16 minutes. Director: Alan J. Pakula Cast: Robert Redford (Bob Woodward); Dustin Hoffman (Carl Bernstein); Jason Robards (Ben Bradlee); Hal Holbrook (Deep Throat); Jack Warden (Harry Rosenfeld); Martin Balsam (Howard Simons); Jane Alexander (Judy Hoback, the bookkeeper for the Committee for the Re-Election of the President); Meredith Baxter (Debbie Sloan); Ned Beatty (Martin Dardis); Stephen Collins (Hugh Sloan Jr.); Lindsay Crouse (Kay Eddy); Polly Holliday (Dardis's secretary); F. Murray Abraham (first arresting officer); Frank Wills, the security guard at the Watergate who called the police, plays himself. Total Oscar Nominations: 8. Oscar Wins: Jason Robards, best supporting actor; William Goldman, best adapted screenplay; George Jenkins and George Gaines, best art direction; Arthur Piantadosi, Les Fresholtz, Dick Alexander and Jim Webb, best sound. Other Nominations: Best picture; Jane Alexander, best supporting actress; Alan J. Pakula, best director; Robert L. Wolfe, best editing. Print Page "All the President's Men" is truer to the craft of journalism than to the art of storytelling, and that's its problem. The movie is as accurate about the processes used by investigative reporters as we have any right to expect, and yet process finally overwhelms narrative -- we're adrift in a sea of names, dates, telephone numbers, coincidences, lucky breaks, false leads, dogged footwork, denials, evasions, and sometimes even the truth. Just such thousands of details led up to Watergate and the Nixon resignation, yes, but the movie's more about the details than about their results. That's not to say the movie isn't good at accomplishing what it sets out to do. It provides the most observant study of working journalists we're ever likely to see in a feature film (Bob Woodward and Carl Bernstein may at last, merciful God, replace Hildy Johnson and Walter Burns as career models). And it succeeds brilliantly in suggesting the mixture of exhilaration, paranoia, self-doubt, and courage that permeated the Washington Post as its two young reporters went after a presidency. Newspaper movies always used to play up the excitement and ignore the boredom and the waiting. This one is all about the boredom and the waiting and the tireless digging; it depends on what we already know about Watergate to provide a level of excitement. And yet, given the fact that William Goldman's screenplay is almost all dialogue, almost exclusively a series of scenes of people talking (or not talking) to each other, director Alan J. Pakula has done a remarkable job of keeping the pace taut. Who'd have thought you could build tension with scenes where Bernstein walks over to Woodward's desk and listens in on the extension phone? But you can. And the movie's so well paced, acted, and edited that it develops the illusion of momentum even in the scenes where Woodward and Bernstein are getting doors slammed in their faces. When Robert Redford announced that he'd bought the rights to "All the President's Men," the joke in the newsroom was about reporters becoming movie stars. What in fact has happened is that the stars, Redford as Woodward and Dustin Hoffman as Bernstein, became reporters: They sink into their characters and become wholly credible. There's not a false or "Hollywood" note in the whole movie, and that's commendable -- but how much authenticity will viewers settle for? To what secret and sneaky degree do they really want Redford and Hoffman to come on like stars? There must have been a temptation to flesh out the Woodward and Bernstein characters, to change the pace with subplots about their private lives, but the film sticks resolutely to its subject. This is the story of a story: of two reporters starting with an apparently minor break-in and following it, almost incredulously at times, as it finally leads all the way to the White House. At times the momentum of Watergate seems to propel Woodward and Bernstein, instead of the other way around. It must have occasionally been like that at the time, and it's to the movie's credit that it doesn't force its characters into the center of every scene. "All the President's Men" doesn't dwell on the private lives of its characters, but it does have a nice touch with their professional lives, and especially with their relationships with editors. The Watergate story started as a local story, not a national one, and it was a continuing thorn in the side of the Post's prestigious national staff as Woodward and Bernstein kept it as their own. We meet the Post metro editor, Harry Rosenfeld (Jack Warden), defending and badgering "Woodstein" as the team came to be known. Martin Balsam plays Howard Simons, the managing editor, and Jason Robards is Benjamin Bradlee, the executive editor. All three are well cast; they may never have been in a newspaper office before, but they've learned the correct tone, they carry on a news conference as if they've held one before, and they even exhibit typical shadings of office fashion -- the closer in time you are to having once covered a daily beat, the more you're permitted to loosen your tie and have baggy pants. The movie has dozens of smaller character roles, for all the people who talked to Woodstein, or who refused to, and there's one cameo from real life: Frank Wills, the Watergate guard who found the fateful tape on the lock, plays himself. Some of the other roles tend to blend into one faceless Source, but Robert Walden makes a memorable Donald Segretti, playing the "dirty tricks" expert with bravado shading into despair. And two of the key informants are portrayed in interestingly different ways. Jane Alexander is a bookkeeper who gives the team some of their best leads, and is plain, honest, and scared; Hal Holbrook, as the mysterious "Deep Throat," the source inside the administration, is disturbingly detached, almost as if he's observing the events with a hollow laugh. All of these elements in "All the President's Men" are to be praised, and yet they don't quite add up to a satisfying movie experience. Once we've seen one cycle of investigative reporting, once Woodward and Bernstein have cracked the first wall separating the break-in from the White House, we understand the movie's method. We don't need to see the reporting cycle repeated several more times just because the story grows longer and the sources more important. For all of its technical skill, the movie essentially shows us the same journalistic process several times as it leads closer and closer to an end we already know. The film is long, and would be dull if it weren't for the wizardry of Pakula, his actors, and technicians. What saves it isn't the power of narrative, but the success of technique. Still, considering the compromises that could have been made, considering the phony "newspaper movie" this could have been, maybe that's almost enough. All the President s Men (1976) 'President's Men', Spellbinding Film By VINCENT CANBY Published: April 8, 1976 Newspapers and newspapermen have long been favorite subjects for movie makers—a surprising number of whom are former newspapermen, yet not until "All The President's Men," the riveting screen adaptation of the Watergate book by Carl Bernstein and Bob Woodward, has any film come remotely close to being an accurate picture of American journalism at its best. "All The President's Men," directed by Alan J. Pakula, written by William Goldman and largely pushed into being by the continuing interest of one of its stars, Robert Redford, is a lot of things all at once: a spellbinding detective story about the work of the two Washington Post reporters who helped break the Watergate scandal, a breathless adventure that recalls the triumphs of Frank and Joe Hardy in that long-ago series of boys' books, and a vivid footnote to some contemporary American history that still boggles the mind. The film, which opened yesterday at Loews Astor Plaza and Tower East Theaters, is an unequivocal smash-hit — the thinking man's "Jaws." Much of the effectiveness of the movie, which could easily have become a mishmash of names, dates and events, is in its point of view, which remains that of its two, as yet unknown reporters. Carl Bernstein (Dustin Hoffman), highly competitive and a little more experienced than his partner, and Bob Woodward (Robert Redford), very ambitious and a dog for details. It's through their eyes—skeptical, hungry, insatiably curious—that "All The President's Men" unfolds. It begins logically on the night of June 17, 1972, when five men were arrested in an apparent break-in at the headquarters of the Democratic National Committee in the Watergate complex in Washington, and continues through the spectacular series of revelations, accusations and admissions of guilt that eventually brought the Nixon Presidency to its conclusion. Like Bernstein and Woodward in the course of their investigation, the film maintains bifocal vision, becoming thoroughly absorbed in the seemingly unimportant minutiae out of which major conspiracies can sometimes be reconstructed, yet never for long losing sight of the overall relevance of what's going on. Although "All The President's Men" is first and foremost a fascinating newspaper film, the dimensions and implications of the Watergate story obviously give it an emotional punch that might be lacking if, say, Bernstein and Woodward had been exposing corruption in the Junior League. Thus the necessity of the director's use of newsreel footage from time to time—the shots of President Nixon's helicopter making a night landing at the White House, which open the film; the television images of the President entering the House of Representatives, and of other familiar folk including former Attorney General John N. Mitchell, former Vice President Agnew, and, especially, Representative Gerald R. Ford announcing the nominination of President Nixon at the 1972 Republican National Convention. Though the film will undoubtedly have some political impact, its strength is the virtually day-by-day record of the way Bernstein and Woodward conducted their investigations, always under the supervision of a kindly avuncular Ben Bradlee (Jason Robards), The Post's managing editor, who (in this film) gives out advice, caution and, occasionally, a "well-done," acting as Dr. Gillespie to their Dr. Kildares. Mr. Redford and Mr. Hoffman play their roles with the low-keyed, understated efficiency required since they are, in effect, the straight men to the people and the events they are pursuing. The film stays out of their private lives but is full of unexpected, brief, moving glimpses into the private lives of their subjects, including a frightened bookkeeper (Jane Alexander) for the Committee to Re-elect the President. Donald Segretti (Robert Walden), the "dirty tricks" man, and Hugh Sloan Jr. (Stephen Collins), the committee treasurer, and his wife (Meredith Baxter). The manners and methods of big-city newspapering, beautifully detailed, contribute as much to the momentum of the film as the mystery that's being uncovered. Maybe even more, since the real excitement of "All The President's Men" is in watching two comparatively inexperienced reporters stumble onto the story of their lives and develop it triumphantly, against all odds. The Cast ALL THE PRESIDENT'S MEN, directed by Alan J. Pakula; screenplay by William Goldman, based on the book by Carl Bernstein and Bob Woodward; produced by Walter Coblenz; music, David Shire; director of photography, Gordon Willis; editor, Robert L. Wolfe; a Wildwood production, distributed by Warner Brothers. Running time: 136 minutes. At Loews Astor Plaza, 44th Street west of Broadway, and Loews Tower East, Third Avenue near 72d Street. This film has been rated PG. Carl Bernstein . . . . . Dustin Hoffman Bob Woodward . . . . . Robert Redford Harry Rosenfeld . . . . . Jack Warden Howard Simons . . . . . Martin Balsam Deep Throat . . . . . Hal Holbrook Ben Bradlee . . . . . Jason Robards Bookkeeper . . . . . Jane Alexander Debbie Sloan . . . . . Meredith Baxter Dardis . . . . . Ned Beatty Hugh Sloan, Jr. . . . . . Stephen Collins Sally Aiken . . . . . Penny Fuller Foreign Editor . . . . . John McMartin Donald Segretti . . . . . Robert Walden Frank Wills . . . . . Himself Bachinski . . . . . David Arkin Barker . . . . . Henry Calvert Marinez . . . . . Dominic Chianese Kay Eddy . . . . . Lindsay Ann Crouse Miss Milland . . . . . Valerie Curtin McCord . . . . . Richard Herd Carolyn Abbot . . . . . Allyn Ann McLerie Angry CRP woman . . . . . Neva Patterson Al Lewis . . . . . Joshua Shelley Alan Jay Pakula (April 7, 1928 – November 19, 1998) was an American film director, writer and producer. He was nominated for three Academy Awards: Best Picture for To Kill a Mockingbird (1962), Best Director for All the President's Men (1976) and Best Adapted Screenplay for Sophie's Choice (1982). Pakula was also notable for directing his "paranoia trilogy" that included All the President's Men. The other two films in that trilogy are Klute (1971) and The Parallax View (1974). Contents 1 Career2 Personal life3 Death4 Filmography5 References6 External links Career Pakula started his Hollywood career as an assistant in the cartoon department at Warner Brothers. In 1957, he undertook his first production role for Paramount Pictures. In 1962, he produced To Kill a Mockingbird, for which he was nominated for a Best Picture Academy Award. Pakula had a successful professional relationship as the producer of movies directed by Robert Mulligan from 1957 to 1968. In 1969, he directed his first feature, The Sterile Cuckoo, starring Liza Minnelli. In 1971, Pakula released the first installment of what would informally come to be known as his "paranoia trilogy". Klute, the story of a relationship between a private eye (played by Donald Sutherland) and a call girl (played by Jane Fonda, who won an Oscar for her performance), was a commercial and critical success. This was followed in 1974 by The Parallax View starring Warren Beatty, a labyrinthine post-Watergate thriller involving political assassinations. The film has been noted for its experimental use of hypnotic imagery in a celebrated film-within-a-film sequence in which the protagonist is inducted into the Parallax Corporation, whose main, albeit non-ostensible, enterprise is domestic terrorism. Finally, in 1976, Pakula rounded out the "trilogy" with All the President's Men, based on the bestselling account of the Watergate scandal written by Bob Woodward and Carl Bernstein, who were played in the movie by Robert Redford and Dustin Hoffman, respectively. It was another commercial hit, considered by many critics and fans to be one of the best thrillers of the 1970s. Pakula scored another hit in 1982 with Sophie's Choice, starring Meryl Streep. His screenplay, based on the novel by William Styron, was nominated for an Academy Award. Later commercial successes included Presumed Innocent, based on the bestselling novel by Scott Turow, and another political thriller, The Pelican Brief, an adaptation of John Grisham's bestseller. His final film was the crime drama thriller film The Devil's Own, where he reunited with Harrison Ford. Personal life Pakula was born in The Bronx, New York to parents of Polish Jewish descent, Jeanette (née Goldstein) and Paul Pakula. He was educated at The Hill School, Pottstown, PA and Yale University, where he majored in drama. From October 19, 1963 until 1971, Pakula was married to actress Hope Lange. He was married to his second wife, Hannah Pakula (formerly Hannah Cohn Boorstin) until his death in 1998. He has two stepchildren from his marriage with Hope Lange, Christopher and Patricia Murray and three stepchildren from his second marriage. They are Louis, Robert and Anna Boorstin. He also spoke very openly about his stepson's battle with depression before his death. Death Pakula died on November 19, 1998 in a car accident on the Long Island Expressway in Melville, New York. He was 70 years old. A driver in front of him struck a metal pipe, which went through Pakula's windshield, struck him in the head, and caused him to swerve off the road and into a fence. He was killed instantly. Filmography Year Title Notes 1957 Fear Strikes Out Producer 1962 To Kill a Mockingbird Producer 1963 Love with the Proper Stranger Producer 1965 Baby the Rain Must Fall Producer Inside Daisy Clover Producer 1967 Up the Down Staircase Producer 1968 The Stalking Moon Producer 1969 The Sterile Cuckoo Director, producer 1971 Klute Director, producer 1973 Love and Pain and the Whole Damn Thing Director, producer 1974 The Parallax View Director, producer 1976 All the President's Men Director 1978 Comes a Horseman Director 1979 Starting Over Director, producer 1981 Rollover Director 1982 Sophie's Choice Director, producer, writer 1986 Dream Lover Director, producer 1987 Orphans Director, producer 1989 See You in the Morning Director, producer, writer 1990 Presumed Innocent Director, writer 1992 Consenting Adults Director, producer 1993 The Pelican Brief Director, producer, writer 1997 The Devil's Own Director Charles Robert Redford Jr. (born August 18, 1936), better known as Robert Redford, is an American actor, film director, producer, businessman, environmentalist, philanthropist, and a founder of the Sundance Film Festival. He has received two Academy Awards: one in 1981 for directing Ordinary People, and one for Lifetime Achievement in 2002. In 2010, he was made a chevalier of the Légion d'Honneur. Redford's career began in New York. He started his acting career in 1959 as a guest star on numerous TV programs, including The Untouchables, Perry Mason, Alfred Hitchcock Presents, and The Twilight Zone, among others. He earned an Emmy nomination as Best Supporting Actor for his performance in The Voice of Charlie Pont (ABC, 1962). Redford's biggest Broadway success was as the stuffy newlywed husband of Elizabeth Ashley in Neil Simon's Barefoot in the Park (1963). Redford made his film debut in War Hunt (1962). Inside Daisy Clover (1965) won him a Golden Globe for best new star. He starred in George Roy Hill's Butch Cassidy and the Sundance Kid (1969), which was a huge success and made him a major star. In 1972, he had a critical and box office hit with Jeremiah Johnson (1972); and in 1973 the biggest hit of his career, the blockbuster crime caper The Sting, for which he was also nominated for an Oscar. The popular and acclaimed All the President's Men (1976) was a landmark film for Redford. The first film he directed, Ordinary People (1980), was one of the most critically and publicly acclaimed films of the decade, winning four Oscars. Redford starred in Sydney Pollack's Out of Africa (1985), which was an enormous critical and box office success and won seven Oscars including Best Picture, proving to be Redford's biggest success of the decade. He released his third film as a director, A River Runs Through It, in 1992. In April 2014, Time magazine included Redford in its annual TIME 100 as one of the "Most Influential People in the World" declaring him the "Godfather of Indie Film." Contents 1 Early life2 Career 2.1 Television2.2 Theater2.3 Film3 Director4 Honors5 Sundance6 Independent films7 Personal life8 Political activity9 Filmography 9.1 Actor9.2 Director9.3 Narrator10 References11 Further reading12 External links Early life Redford was born on August 18, 1936, in Santa Monica, California. His mother, Martha W. (Hart; 1914–55), was born in Texas, to Archibald Hart and Sallie Pate Green; and his father, Charles Robert Redford, Sr. (1914–91), was a milkman-turned-accountant from Pawcatuck, New London County, Connecticut, son of Charles Elijah Redford and Lena Taylor. He has a stepbrother, William, from his father's remarriage. Redford is of English, Irish, Scottish, and Scots-Irish ancestry (his surname originates in England). Redford's family moved to Van Nuys, California, while his father worked in El Segundo. He attended Van Nuys High School, where he was classmates with baseball player Don Drysdale. He has described himself as having been a "bad" student, finding inspiration outside the classroom, and being interested in art and sports. He hit tennis balls with Pancho Gonzales at the Los Angeles Tennis Club to warm him up. After high school, he attended the University of Colorado for a year and a half, where he was a member of the Kappa Sigma Fraternity. While there, he worked at the restaurant/bar The Sink; a painting of his likeness is prominent in the bar's murals. After being asked to leave the University of Colorado, he traveled in Europe, living in France, Spain, and Italy. He later studied painting at the Pratt Institute in Brooklyn and took classes at the American Academy of Dramatic Arts in New York City. Career Television Redford's career—like that of almost all major stars who emerged in the 1950s—began in New York, where an actor could find work both in television and on stage. Starting in 1959, he appeared as a guest star on numerous programs, including Naked City, The Untouchables, The Americans, Whispering Smith, Perry Mason, Alfred Hitchcock Presents, Route 66, Dr. Kildare, Playhouse 90, Tate, The Twilight Zone, and "Captain Brassbound's Conversion" with a young Christopher Plummer, among others. In 1960, Redford was cast as Danny Tilford, a mentally disturbed young man trapped in the wreckage of his family garage, in "Breakdown", one of the last episodes of the syndicated adventure series, Rescue 8, starring Jim Davis and Lang Jeffries. Redford earned an Emmy nomination as Best Supporting Actor for his performance in The Voice of Charlie Pont (ABC, 1962). One of his last television appearances was on October 7, 1963, on Breaking Point, an ABC medical drama about psychiatry. Theater Redford's Broadway debut was in a small role in Tall Story (1959), followed by parts in The Highest Tree (1959) and Sunday in New York (1961). His biggest Broadway success was as the stuffy newlywed husband of Elizabeth Ashley in Neil Simon's Barefoot in the Park (1963). Film Redford in Barefoot in the Park, 1967 While still largely an unknown, Redford made his screen debut in Tall Story (1960). It was a minor role. Stars were Anthony Perkins, Jane Fonda (her debut), and Ray Walston. The film was about a college basketball star, played by Perkins, who gets himself into trouble debating as to whether or not he should accept a bribe to throw a basketball game against a team from Russia. After his Broadway success, he was cast in larger feature roles in movies. In 1962 Robert Redford got his second film role in War Hunt. He was cast alongside screen legend Alec Guinness in the war comedy Situation Hopeless ... But Not Serious, in which he played a soldier who has to spend years of his life hiding behind enemy lines. In Inside Daisy Clover (1965), which won him a Golden Globe for best new star, he played a bisexual movie star who marries starlet Natalie Wood, and rejoined her along with Charles Bronson for Pollack's This Property Is Condemned (1966)—again as her lover, though this time in a film which achieved even greater success. The same year saw his first teaming (on equal footing) with Jane Fonda, in Arthur Penn's The Chase. This film marked the only time Redford would star with Marlon Brando. Fonda and Redford were paired again in the popular big-screen version of Barefoot in the Park (1967) and were again co-stars much later in Pollack's The Electric Horseman (1979). After this initial success, Redford became concerned about his blond male stereotype image and turned down roles in Who's Afraid of Virginia Woolf? and The Graduate. Redford found the property he was looking for in George Roy Hill's Butch Cassidy and the Sundance Kid (1969), scripted by William Goldman, in which he was paired for the first time with Paul Newman. The film was a huge success and made him a major bankable star, cementing his screen image as an intelligent, reliable, sometimes sardonic good guy. Redford suffered through a few films that did not achieve box office success during this time, including Downhill Racer (1969); Tell Them Willie Boy Is Here (1969); Little Fauss and Big Halsy (1970), and The Hot Rock (1972). But his overall career was flourishing with the critical and box office hit Jeremiah Johnson (1972); the political satire The Candidate (1972); the hugely popular period drama The Way We Were (1973); and the biggest hit of his career, the blockbuster crime caper The Sting (1973), which became one of the top 20 highest grossing movies of all time when adjusted for inflation and for which he was also nominated for an Oscar. Between 1974 and 1976, exhibitors voted Redford Hollywood's top box-office name. His hits included The Great Gatsby (1974), The Great Waldo Pepper (1975), and Three Days of the Condor (1975). The popular and acclaimed All the President's Men (1976), directed by Alan J. Pakula and scripted once again by Goldman, was a landmark film for Redford. Not only was he the executive producer and co-star, but the film's serious subject matter—the Watergate scandal—and its attempt to create a realistic portrayal of journalism, also reflected the actor's offscreen concerns for political causes. He also appeared in a segment of the war film A Bridge Too Far (1977) before starring in the prison drama Brubaker (1980), playing a prison warden attempting to reform the system, and the baseball drama The Natural (1984). Redford continued his involvement in mainstream Hollywood movies, though with a newfound focus on directing. The first film he directed, Ordinary People, which followed the disintegration of an upper-class American family after the death of a son, was one of the most critically and publicly acclaimed films of the decade, winning four Oscars, including Best Director for Redford himself, and Best Picture. His follow-up directorial project, The Milagro Beanfield War (1987), failed to generate the same level of attention. Sydney Pollack's Out of Africa (1985), with Redford in the male lead role opposite Meryl Streep, became an enormous critical and box office success and won seven Oscars including Best Picture, proving to be Redford's biggest success of the decade and Redford and Pollack's most successful of their six movies together. His next film, Legal Eagles (1986), was only a minor success at the box office. Redford continued as a major star throughout the 1990s and 2000s. He released his third film as a director, A River Runs Through It, in 1992, which was a return to mainstream success for Redford as a director and brought a young Brad Pitt to greater prominence. In 1993, Redford played what became one of his most popular and recognized roles, starring in Indecent Proposal as a millionaire businessman who tests a couple's morals; the film became one of the year's biggest hits. He co-starred with Michelle Pfeiffer in the newsroom romance Up Close & Personal (1996), and with Kristin Scott Thomas in The Horse Whisperer (1998), which he also directed. Redford also continued work in films with political context, such as Havana (1990), playing Jack Weil, a professional gambler in 1959 Cuba during the Revolution, as well as Sneakers (1992), in which he co starred with River Phoenix among others. Redford at the 2013 Cannes Film Festival. He appeared as a disgraced Army general sent to prison in the prison drama The Last Castle (2001), directed by Rod Lurie. In the same year, Redford reteamed with Brad Pitt for Spy Game, another success for the pair but with Redford switching this time from director to actor. Redford, a leading environmental activist, narrated the IMAX documentary Sacred Planet (2004), a sweeping journey across the globe to some of its most exotic and endangered places. In The Clearing (2004), a thriller co-starring Helen Mirren, Redford was a successful businessman whose kidnapping unearths the secrets and inadequacies that led to his achieving the American Dream. Redford stepped back into producing with The Motorcycle Diaries (2004), a coming-of-age road film about a young medical student, Ernesto "Che" Guevera, and his friend Alberto Granado. It also explored political and social issues of South America that influenced Guevara and shaped his future. With five years spent on the film's making, Redford was credited by director Walter Salles for being instrumental in getting it made and released. Back in front of the camera, Redford received good notices for his role in director Lasse Hallstrom's An Unfinished Life (2005) as a cantankerous rancher who is forced to take in his estranged daughter-in-law (Jennifer Lopez)—whom he blames for his son's death—and the granddaughter he never knew he had when they fled an abusive relationship. The film, which sat on the shelf for many months while its distributor Miramax was restructured, was generally dismissed as clichéd and overly sentimental. Meanwhile, Redford returned to familiar territory when he reteamed with Meryl Streep 22 years after they starred in Out of Africa, for his personal project Lions for Lambs (2007), which also starred fellow superstar Tom Cruise. After a great deal of hype, the film opened to mixed reviews and disappointing box office. Redford more recently signed on to direct and star in an update of The Candidate. Redford appeared in the 2011 documentary Buck, where he discussed his experiences with title subject Buck Brannaman during the production of The Horse Whisperer. In 2012, Redford directed and starred in The Company You Keep, about a former Weather Underground activist who goes on the run from a journalist who has discovered his identity. In 2013, he starred in All Is Lost, directed by J.C. Chandor, about a man lost at sea. He received very high acclaim for his performance in the film, in which he is its only cast member and there is almost no dialogue. In April 2014, Redford appeared in the Marvel Studios super hero film Captain America: The Winter Soldier playing Alexander Pierce, the main antagonist who is the head of S.H.I.E.L.D. and leader of the HYDRA cell operating the Triskelion. Director Redford with Melanie Griffith and Sônia Braga, promoting The Milagro Beanfield War at the 1988 Cannes Film Festival Redford had long harbored ambitions to work on both sides of the camera. As early as 1969, Redford had served as the executive producer for Downhill Racer. His first outing as director was 1980's Best Picture winner Ordinary People, a drama about the slow disintegration of an upper-middle class family, for which he won the Academy Award for Best Director. Redford was credited with obtaining a powerful dramatic performance from Mary Tyler Moore, as well as superb work from Donald Sutherland and Timothy Hutton, who also won the Oscar for Best Supporting Actor. Redford did not direct again until The Milagro Beanfield War (1988), a well-crafted, though not commercially successful, screen version of John Nichols' acclaimed novel of the Southwest. The Milagro Beanfield War is the story of the people of Milagro, New Mexico (based on the real town of Truchas in northern New Mexico), overcoming big developers who set about to ruin their community and force them out because of tax increases. Other directorial projects have included the period drama A River Runs Through It (1992), based on Norman Maclean's novella, and the exposé Quiz Show (1994), about the quiz show scandal of the late 1950s. In the latter film, Redford worked from a screenplay by Paul Attanasio with noted cinematographer Michael Ballhaus and a strong cast that featured Paul Scofield, John Turturro, Rob Morrow, and Ralph Fiennes. Redford handpicked Morrow for his part in the film (Morrow's only high-profile feature film role to date), because he liked his work on Northern Exposure. Redford also directed Matt Damon and Will Smith in The Legend of Bagger Vance (2000). In 2010, Redford released The Conspirator, a period drama revolving around the assassination of Abraham Lincoln. Despite a subject matter of personal interest to Redford, the film received mixed reviews and proved to be a flop at the box office. Honors Main article: List of awards and nominations received by Robert Redford U.S. President George W. Bush and First Lady Laura Bush pose with the Kennedy Center honorees, from left to right, actress Julie Harris, actor Robert Redford, singer Tina Turner, ballet dancer Suzanne Farrell and singer Tony Bennett on December 4, 2005, during the reception in the Blue Room at the White House. Redford attended the University of Colorado in the 1950s and received an honorary degree in 1988. In 1989, the National Audubon Society awarded Redford its highest honor, the Audubon Medal. In 1995, he received an honorary Doctor of Humane Letters degree from Bard College. He was a 2002 Lifetime Achievement Award/Honorary Oscar recipient at the 74th Academy Awards. In 1996, he was awarded the National Medal of Arts. In December 2005, he received the Kennedy Center Honors for his contributions to American culture. The honors recipients are recognized for their lifetime contributions to American culture through the performing arts: whether in dance, music, theater, opera, motion pictures or television. In 2008, he was awarded The Dorothy and Lillian Gish Prize, one of the richest prizes in the arts, given annually to "a man or woman who has made an outstanding contribution to the beauty of the world and to mankind's enjoyment and understanding of life." The University of Southern California (USC) School of Dramatic Arts announced the first annual Robert Redford Award for Engaged Artists in 2009. According to the school's web site, the award was created "to honor those who have distinguished themselves not only in the exemplary quality, skill and innovation of their work, but also in their public commitment to social responsibility, to increasing awareness of global issues and events, and to inspiring and empowering young people." Redford received an honorary Doctor of Fine Arts from Brown University at the 240th Commencement exercises on May 25, 2008. He also spoke during the ceremonies. On October 14, 2010, he was appointed chevalier of the Légion d'honneur. He was a 2010 recipient of the New Mexico Governor's Award for Excellence in the Arts Sundance With the financial proceeds of his acting success, starting with his salaries from Butch Cassidy and the Sundance Kid and Downhill Racer, Redford bought an entire ski area on the east side of Mount Timpanogos northeast of Provo, Utah, called "Timp Haven", which was renamed "Sundance". Redford's wife Lola was from Utah and they had built a home in the area in 1963. Portions of the movie Jeremiah Johnson (1972), a film which is both one of Redford's favorites and one that has heavily influenced him, were shot near the ski area. He founded the Sundance Institute, Sundance Cinemas, Sundance Catalog, and the Sundance Channel, all in and around Park City, Utah, 30 miles (48 km) north of the Sundance ski area. The Sundance Film Festival caters to independent filmmakers in the United States and has received recognition from the industry as a place to open films. In 2008, Sundance exhibited 125 feature-length films from 34 countries, with more than 50,000 attendees. The name Sundance comes from his Sundance Kid character. Redford also owns a restaurant called Zoom, located on Main Street in the former mining town of Park City. Independent films Since founding the nonprofit Sundance Institute in Park City, in 1981, Redford has been deeply involved with independent film. Through its various workshop programs and popular film festival, Sundance has provided much-needed support for independent filmmakers. In 1995, Redford signed a deal with Showtime to start a 24-hour cable television channel devoted to airing independent films. The Sundance Channel premiered on February 29, 1996. Personal life Redford and Sibylle Szaggers Redford at an event in the U.S. Embassy in London in 2012 On September 12, 1958, in Las Vegas, Nevada, Redford married Lola Van Wagenen, who dropped out of college to marry him. They had four children: Scott Anthony, Shauna Jean (born November 15, 1960), David James ("Jamie") (born May 5, 1962), and Amy Hart Redford (born October 22, 1970). Lola and Redford divorced in 1985. Scott Redford was born on September 1, 1959, and died of sudden infant death syndrome on November 17, 1959, at age 2½ months. His remains were buried at Provo City Cemetery in Provo, Utah. Shauna Redford is a painter and married to journalist Eric Schlosser. Jamie Redford is a writer and producer, while Amy Redford is an actress, director, and producer. In 1994 Jamie, suffering from liver disease, had a liver transplant. Redford has seven grandchildren. In July 2009, Redford married his longtime partner, Sibylle Szaggars, at the Louis C. Jacob Hotel in Hamburg, Germany. She had moved in with Redford in the 1990s and shares his home in Sundance, Utah. In May 2011, Alfred A. Knopf published Robert Redford: The Biography by Michael Feeney Callan, written over fifteen years with Redford's input and drawn from his personal papers and diaries. Political activity Redford with New Mexico Governor Bill Richardson in 2009 Redford supports environmentalism, Native American rights, LGBT rights, and the arts. He has also supported advocacy groups, such as the Political Action Committee of the Directors Guild of America. Redford has on occasion also supported Republicans, including Brent Cornell Morris in his unsuccessful 1990 race for Utah's 3rd congressional district seat. Redford also supported Gary Herbert, another Republican and a friend, in Herbert's successful 2004 campaign to be elected Utah's Lieutenant Governor. Herbert later became Governor of Utah. Redford is an avid environmentalist and is a trustee of the Natural Resources Defense Council. He endorsed Democratic President Barack Obama for re-election in 2012. In April 2014, Redford, a Pitzer College Trustee, and Pitzer College President Laura Skandera Trombley announced that the college will divest fossil fuel stocks from its endowment; at the time, it was the higher education institution with the largest endowment in the US to make this commitment. The press conference was held at the LA Press Club. In November 2012, Pitzer launched the Robert Redford Conservancy for Southern California Sustainability at Pitzer College. The Redford Conservancy educates the next generation of students to create solutions for the most challenging and urgent sustainability problems. Filmography Actor Year Title Role Director Notes 1960 Maverick Jimmy Coleman Episode 76: "Iron Hand" Rescue 8 Danny Tilford Episode 67: "Breakdown" The Deputy Burt Johnson Episode 31: "The Last Gunfight" Playhouse 90 Lieutenant Lott Episode 134: "In the Presence of Mine Enemies" Tate John Torsett Episode 3: "The Bounty Hunter" Tad Dundee Episode 8: "Comanche Scalps" Moment of Fear Stranger Episode 1: "The Golden Deed" Perry Mason Dick Hart Episode 96: "The Case of the Treacherous Toupee" The Iceman Cometh Don Parritt TV production Tall Story Basketball Player Uncredited 1961 Route 66 Janosh Episode 35: "First-Class Mouliak" Whispering Smith Johnny Episode 2: "The Grudge" Naked City Baldwin Larne Episode 60: "Tombstone for a Derelict" 1962 The Twilight Zone Harold Beldon Episode 81: "Nothing in the Dark" War Hunt Private Roy Loomis Denis Sanders Redford's first credited film 1963 The Untouchables Jack Parker Episode 103: "Snowball" The Virginian Matthew Cordell Episode 34 (2.4): "A Killer in Town" 1965 Inside Daisy Clover Wade Lewis Robert Mulligan Situation Hopeless ... But Not Serious Captain Hank Wilson Gottfried Reinhardt 1966 This Property Is Condemned Owen Legate Sydney Pollack The Chase Charlie 'Bubber' Reeves Arthur Penn 1967 Barefoot in the Park Paul Bratter Gene Saks 1969 Butch Cassidy and the Sundance Kid The Sundance Kid George Roy Hill Tell Them Willie Boy Is Here Deputy Sheriff Christopher 'Coop' Cooper Abraham Polonsky Downhill Racer David Chappellet Michael Ritchie 1970 Little Fauss and Big Halsy Halsy Knox Sidney J. Furie 1972 Jeremiah Johnson Jeremiah Johnson Sydney Pollack The Candidate Bill McKay Michael Ritchie The Hot Rock John Archibald Dortmunder Peter Yates 1973 The Sting Johnny Hooker George Roy Hill The Way We Were Hubbell Gardiner Sydney Pollack 1974 The Great Gatsby Jay Gatsby Jack Clayton 1975 Three Days of the Condor Joseph Turner/The Condor Sydney Pollack The Great Waldo Pepper Waldo Pepper George Roy Hill 1976 All the President's Men Bob Woodward Alan J. Pakula 1977 A Bridge Too Far Major Julian Cook Richard Attenborough 1979 The Electric Horseman Norman 'Sonny' Steele Sydney Pollack 1980 Brubaker Henry Brubaker Stuart Rosenberg 1984 The Natural Roy Hobbs Barry Levinson 1985 Out of Africa Denys Finch Hatton Sydney Pollack 1986 Legal Eagles Tom Logan Ivan Reitman 1990 Havana Jack Weil Sydney Pollack 1992 Sneakers Martin "Marty" Bishop Phil Alden Robinson Incident at Oglala Narrator Michael Apted 1993 Indecent Proposal John Gage Adrian Lyne La Classe américaine Steven Michel Hazanavicius & Dominique Mézerette 1996 Up Close & Personal Warren Justice Jon Avnet 1998 The Horse Whisperer Tom Booker Robert Redford Also producer and director 2001 The Last Castle Lt. Gen. Eugene Irwin Rod Lurie Spy Game Nathan D. Muir Tony Scott 2004 The Clearing Wayne Hayes Pieter Jan Brugge 2005 An Unfinished Life Einar Gilkyson Lasse Hallström 2006 Charlotte's Web Ike the Horse Gary Winick voice 2007 Lions for Lambs Dr. Stephen Malley Robert Redford Also producer and director 2012 The Company You Keep Jim Grant/Nick Sloan Robert Redford Also producer and director 2013 All Is Lost Our Man J.C. Chandor 2014 Captain America: The Winter Soldier Alexander Pierce Anthony and Joe Russo 2015 A Walk in the Woods Bill Bryson Ken Kwapis Truth Dan Rather James Vanderbilt 2016 Pete's Dragon Grace's Dad David Lowery Filming Director Year Title Notes 1980 Ordinary People 1988 The Milagro Beanfield War 1992 A River Runs Through It 1994 Quiz Show 1998 The Horse Whisperer 2000 The Legend of Bagger Vance 2007 Lions for Lambs 2010 The Conspirator 2012 The Company You Keep Narrator Year Title Notes 1970 The Making of Butch Cassidy and the Sundance Kid Documentary 1971 The Language And The Music Of The Wolves Project of The Natural History Magazine 1974 Following the Tundra Wolf Documentary 1975 Broken Treaty at Battle Mountain Documentary 1977 The Predators Documentary 1983 The Sun Dagger Documentary 1988 Audubon Video: Grizzly and Man - Uneasy Truce Documentary 1986 Audubon Video: California Condor Documentary 1989 Changing Steps Documentary 1989 To Protect Mother Earth Documentary 1990 American Experience: Yosemite - The Fate of Heaven Documentary 1992 A River Runs Through It Also director and producer 1992 Incident at Oglala Documentary 1999 Mountain Climbing: Free Climb Documentary 1997 Wallace Stegner: A Writer's Life Documentary 1999 The Mystery of Chaco Canyon Documentary 2004 Sacred Planet 2006 Charlotte's Web Voice of Ike the horse 2006 Cosmic Collisions Documentary 2006 Jean-Michel Cousteau: Ocean Adventures Narrated two episodes 2008 Fighting Goliath: Texas Coal Wars Documentary 2008 Grand Canyon Adventure: River at Risk Documentary on the Colorado River 2009 Saving The Bay Documentary on the San Francisco Bay 2010 Stories From The Gulf Documentary project of NRDC 2012 The Movement: One Man Joins An Uprising Project of the Make A Hero organization Dustin Lee Hoffman (born August 8, 1937) is an American actor and director with a career in film, television, and theatre since 1960. He has been known for his versatile portrayals of antiheroes and vulnerable characters. He won the Academy Award for Best Actor in 1979 (for Kramer vs. Kramer) and 1988 (for Rain Man). He first drew critical praise for starring in the play Eh?, for which he won a Theatre World Award and a Drama Desk Award. This was soon followed by his breakthrough 1967 film role as Benjamin Braddock, the title character, in The Graduate. Since then, Hoffman's career has largely been focused on cinema, with sporadic returns to television and the stage. His subsequent notable films include Midnight Cowboy, Little Big Man, Straw Dogs, Papillon, Lenny, Marathon Man, All the President's Men, Kramer vs. Kramer, Tootsie, Rain Man, Hook and Wag the Dog. Aside from his two Academy award wins, Hoffman has been nominated for seven Academy Awards, plus thirteen Golden Globes, winning six (including an honorary one) and has won four BAFTAs, three Drama Desk Awards, a Genie Award, and an Emmy Award. Hoffman received the AFI Life Achievement Award in 1999, and the Kennedy Center Honors in 2012. Hoffman made his directorial debut in 2012, with Quartet. Contents 1 Early life2 Career 2.1 Early work2.2 1960s: The Graduate, Midnight Cowboy, John and Mary2.3 1970s: Lenny, All the President's Men, Marathon Man, Kramer vs. Kramer2.4 1980s: Tootsie, Death of a Salesman, Rain Man, Family Business2.5 1990s: Dick Tracy, Hook, Outbreak, Mad City, Wag the Dog2.6 2000s: Finding Neverland, Meet the Fockers, Mr. Magorium's Wonder Emporium2.7 2010s: Barney's Version, Kung Fu Panda, Little Fockers, Quartet3 Personal life4 Filmography and awards5 References6 External links Early life Hoffman was born on August 8, 1937 in Los Angeles, the second son of Lillian (née Gold; 1909-1981) and Harry Hoffman (1908-1988). His father worked as a prop supervisor (set decorator) at Columbia Pictures before becoming a furniture salesman. Hoffman was named after stage and silent screen actor Dustin Farnum. His older brother, Ronald, is a lawyer and economist. Hoffman is Jewish, from an Ashkenazi family of immigrants from Ukraine and Romania. His upbringing was non-religious; he has said, "I don’t have any memory of celebrating holidays growing up that were Jewish", and that he had "realized" he was Jewish at around age 10. He graduated from Los Angeles High School in 1955 and enrolled at Santa Monica College with the intention of studying medicine. Hoffman left after a year to join the Pasadena Playhouse, although when he told his family about his career goal, his Aunt Pearl warned him "You can't be an actor. You are not good-looking enough." He also took classes at the Neighborhood Playhouse in New York City. Career Early work Hoffman initially hoped to become a classical pianist, having studied piano during much of his youth and in college. While at Santa Monica College, he also took an acting class, which he assumed would be easy, and "caught the acting bug." He recalls: "I just was not gifted in music. I did not have an ear." Now an aspiring actor, he spent the next ten years doing odd jobs, being unemployed, and struggling to get any available acting roles. His first acting role was at the Pasadena Playhouse, alongside future Academy Award-winner, Gene Hackman. After two years there, Hackman headed for New York City, with Hoffman soon following. Hoffman, Hackman and Robert Duvall lived together in the 1960s, all three of them focused on finding acting jobs. Hackman remembers, "The idea that any of us would do well in films simply didn't occur to us. We just wanted to work." During this period, Hoffman got occasional television bit parts, including commercials but, needing income, he briefly left acting to teach. In 1960, Hoffman was cast in a role in an Off-Broadway production and followed with a walk-on role in a Broadway production in 1961. Hoffman then studied at Actors Studio and became a dedicated method actor. Sidney W. Pink, a producer and 3D-movie pioneer, discovered him in one of his off-Broadway roles and cast him in Madigan's Millions. Through the early and mid-1960s, Hoffman made appearances in television shows and movies, including Naked City, The Defenders and Hallmark Hall of Fame. His first critical success was in the play Eh?, by Henry Livings, which had its US premiere at the Circle in the Square Downtown on October 16, 1966. Hoffman made his film debut in The Tiger Makes Out in 1967, alongside Eli Wallach. In 1967, immediately after wrapping up principal filming on The Tiger Makes Out, Hoffman flew from New York City to Fargo, North Dakota, where he directed productions of William Gibson's Two for the Seesaw and William Saroyan's The Time of Your Life for the Fargo-Moorhead Community Theatre. The $1,000 he received for the eight-week contract was all he had to hold him over until the funds from the movie materialized. 1960s: The Graduate, Midnight Cowboy, John and Mary In 1967, director Mike Nichols cast Hoffman in The Graduate (1967), his first major role, for which he received an Academy Award nomination for his performance. Hoffman played the character of Benjamin Braddock, who returns to his wealthy parents' home in California after graduating from college. Confused about what to do with his life, he is seduced into having an affair with Mrs. Robinson, an alcoholic and a neurotic, and the wife of his father's business partner. Hoffman in 1968 Although Life magazine joked that "if Dustin Hoffman's face were his fortune, he'd be committed to a life of poverty", The Graduate was a gigantic box-office hit for Embassy Pictures, making Hoffman a major new star at the same time. The film received near unanimous good reviews. Time magazine called Hoffman "a symbol of youth" who represented "a new breed of actors." The film's screenwriter, Buck Henry, notes that Hoffman's character made conventional good looks no longer necessary on screen: A whole generation changed its idea of what guys should look like. . . I think Dustin's physical being brought a sort of social and visual change, in the same way people first thought of Bogart. They called him ugly. Hoffman biographer Jeff Lenburg adds that "newspapers across the country were deluged with thousands of letters from fans," with one example published in the New York Times: "I identified with Ben...I thought of him as a spiritual brother. He was confused about his future and about his place in the world, as I am. It's a film one digs, rather than understands intellectually.":35 Turner Classic Movies critic Rob Nixon notes that Hoffman represented "a new generation of actors." He credits Hoffman with breaking "the mold of the traditional movie star and brought to their roles a new candor, ethnicity, and eagerness to dive deep into complex, even unlikable characters." Nixon expands on the significance of the film to Hoffman's career: "In The Graduate, he created a lasting resonance as Ben Braddock that made him an overnight sensation and set him on the road to becoming one of our biggest stars and most respected actors." Hoffman, however, mostly credits director Mike Nichols for taking a great risk in giving him, a relatively unknown, the starring role: "I don't know of another instance of a director at the height of his powers who would take a chance and cast someone like me in that part. It took tremendous courage." Critic Sam Kashner observed strong similarities between Hoffman's character and that of Nichols when he previously acted with Elaine May in the comedy team of Nichols and May. "Just close your eyes and you'll hear a Mike Nichols—Elaine May routine in any number of scenes." Buck Henry also noticed that "Dustin picked up all these Nichols habits, which he used in the character. Those little noises he makes are straight from Mike," he says. After completing The Graduate, Hoffman turned down most of the film roles offered to him, preferring to go back to New York and continue performing in live theater. He returned to Broadway to appear in the title role of the musical, Jimmy Shine. Hoffman won a Drama Desk Award for Outstanding Performance. I was a theater person. That's how my friends were, too, Gene Hackman and Bobby Duvall. I wasn't going to be a movie star. I wasn't going to sell out. We wanted to be really good actors. I told them, 'I'm going out to make this movie. Don't worry, I'm coming right back.' He was then offered the lead in Midnight Cowboy (1969), which he accepted partly to prove many critics were wrong about his acting range and the variety of characters he could portray. As author and critic Peter Biskind explains, "it was the very contrast between his preppy character in The Graduate, and Ratso Rizzo" that appealed to Hoffman. "I had become troubled," recalls Hoffman, "by the reviews that I read of The Graduate, that I was not a character actor, which I like to think of myself as. It hurt me. Some of the stuff in the press was brutal." Critics assumed that director Mike Nichols got lucky by finding a typical actor with average acting ability to play the part of Benjamin Braddock. John Schlesinger, who would direct Midnight Cowboy and was seeking lead actors, held that same impression. Hoffman's performance as a button-down college graduate and track star was so convincing to Schlesinger, "he seemed unable to comprehend the fact that he was acting," notes Biskind. To help the director, whom he had never met, overcome that false impression, Hoffman met him in Times Square dressed as a homeless person, wearing a dirty raincoat, his hair slicked back and with an unshaven face. Schlesinger was sold, admitting, "I've only seen you in the context of The Graduate, but you'll do quite well." Midnight Cowboy, premiered in theaters across the United States in May 1969. For his acting, Hoffman received his second Oscar nomination and the film won the Best Picture. In 1994, this film was deemed "culturally, historically or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry. Biskind considers Hoffman's acting a major accomplishment: Midnight Cowboy makes us a gift of one of the landmark performances of movie history: Dustin Hoffman's Ratso Rizzo, with Jon Voight's Joe Buck a close second. From a cesspool of dark, foul, even taboo material, . . . it rescues a true humanism that need not hide its name. Also in 1969, Hoffman co-starred with Mia Farrow in John and Mary. He received a 1970 BAFTA Award as Best Actor, although the film received mixed reviews. He was also nominated for a Golden Globe Award as Best Actor. 1970s: Lenny, All the President's Men, Marathon Man, Kramer vs. Kramer This was followed by his role in Little Big Man (1970), where Jack Crabb, his character, ages from teenager to a 121-year-old man. The film was widely praised by critics, but was overlooked for an award except for a supporting nomination for Chief Dan George. Hoffman continued to appear in major films over the next few years. Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? (1971), Straw Dogs (also 1971), and Papillon (1973). Hoffman next starred in Lenny (1974), for which he was again nominated for Best Actor. Lenny was based on the life of stand-up comedian, Lenny Bruce, who died at age 40, and was notable for his open, free-style and critical form of comedy which integrated politics, religion, sex, and vulgarity. Expectations were high that Hoffman would win an Oscar for his portrayal, especially after his similar role in Midnight Cowboy. Film critic Katharine Lowry speculates that director Bob Fosse "never gave him a chance" to go far enough into developing the character. "We never understand what, besides the drugs he injected, made him tick like a time bomb," she says. Hoffman on the set of Lenny (1974) However, notes author Paul Gardner, "directing Lenny, his most ambitious project, exhausted Fosse emotionally and physically. It turned his life inside out," with shooting days often lasting 10 to 12 hours:" The Lenny Bruce project, based on Julian Barry's play, had gone through two studios and three scripts, and was a problem child, like Lenny himself. But Fosse wanted to do it, and he wanted Dustin Hoffman. Hoffman initially turned the part down: "I didn't think the script was strong enough and I wasn't sure I was the one to play the role." While considering the part, he read Lenny Bruce's autobiography and looked at films with Bruce performing stand-up to live audiences. "I began to feel an affinity with him, a realization that there was a lot of Lenny Bruce in me. My wife felt it too." "I realized that I'd have to make use of my own spontaneity, because he was so spontaneous. And I admired his guts. . . . That intimacy is what an actor tries to get. . . . It occurred to me that if I had known him, I would have wanted us to be friends. . . . and he was a provocateur, and I love to provoke." Movie critic Judith Crist gave Hoffman credit for the ultimate success of the film: What is important is that Bruce's routines are so artfully reconstructed, the juice of his creativity so carefully strained, that the claim to genius is justified. And for that Dustin Hoffman deserves full credit, vanishing into the Bruce persona to simply stunning effectiveness, . . . Hoffman captures the restlessness, the velocity of a man's mouth straining to keep pace with a jet-propelled intelligence . . . " Lenny was nominated for six Academy Awards, including Best Picture, Best Director, Best Actor, Best Actress, Best Adapted Screenplay, and Best Cinematography. All the President's Men (1976) was made less than two years after the Watergate scandal, and starred Hoffman and Robert Redford as the real life journalists, Carl Bernstein and Bob Woodward, respectively. Based on actual events, Hoffman and Redford play Washington Post reporters who uncover a break-in at the Watergate Hotel and end up investigating a political scandal that reaches all the way to the presidency. The film, as earlier ones, had Hoffman take on a dramatically different character than his previous one (as Lenny Bruce). Author James Morrison compares the two roles: "As Lenny Bruce in Lenny (1974), Hoffman plays a martyr to the cause of establishment oppression, while in All the President's Men, he plays a reporter exposing presidential malfeasance." with Bette Midler on Bette Midler TV Special (1977) Vincent Canby of the New York Times described the film as "a spellbinding detective story." "The strength of the movie", he added, was "the virtually day-to-day record of the way Bernstein and Woodward conducted their investigations." The characters portrayed by Hoffman and Redford shared the rank of #27 Hero on AFI's 100 Years... 100 Heroes and Villains list, while Entertainment Weekly ranked All the President's Men as one of the 25 "Powerful Political Thrillers". Hoffman next starred in Marathon Man (1976), a film based on William Goldman's novel of the same name, opposite Laurence Olivier and Roy Scheider. Its director, John Schlesinger also directed Hoffman in Midnight Cowboy in 1969. Described as "Schlesinger's thriller," by author Gene D. Phillips, Hoffman plays the hero, Babe Levy, a part-time long-distance runner and graduate student, who suddenly finds himself being pursued by a fugitive Nazi. To put himself in the mindset of someone under severe emotional distress, rather than simply acting, Hoffman didn't sleep for days at a time and let his body become disheveled and unhealthy. Goldman describes his inspiration for the novel: "What if someone close to you was something totally different from what you thought? In the story, Hoffman thinks his brother (Roy Scheider) is a businessman where the reality is that the man is a spy, who has been involved with the Nazi, Szell." However, Hoffman remembers a serious disagreement he had with Goldman, who also wrote the screenplay, about how the story ends: I was called on, as the character, to fire point-blank at the Laurence Olivier character, Dr. Szell, and kill him in that last scene. And I said that I couldn't do it. Goldman was quite upset about it, because first of all, how dare I? He wrote the book. "Your job isn't to rewrite — your job is to play it as written." . . . it got nasty. I said, "Go hire someone else." I remember Goldman saying: "Why can't you do this? Are you such a Jew?" I said, "No, but I won't play a Jew who cold-bloodedly kills another human being." . . . And that's important to me, that I didn't shoot him in the end. Being a Jew is not losing your humanity and not losing your soul. Hoffman's next roles were less successful. He opted out of directing Straight Time (1978), but starred as a thief. His next film, Michael Apted's Agatha (1979), was with Vanessa Redgrave as Agatha Christie. Hoffman next starred in Kramer vs. Kramer (1979) co-starring Meryl Streep and directed by Robert Benton. The film tells the story of a married couple's divorce and its impact on everyone involved, including the couple's young son. Hoffman won his first Academy Award, and the film also received the Best Picture honor, plus the awards for Best Supporting Actress (Streep) and Best Director. The film required Hoffman to change his attitude, from being a "desensitized advertising art director" into becoming a "responsive and concerned daddy" after his wife (Streep) walks out on him and their six-year-old son, Billy. Hoffman, during the making of the movie, was also going through his own divorce after a ten-year first marriage. Hoffman has said, "Giving myself permission not only to be present but to be a father was a kind of epiphany for me at that time, that I could get to through my work. . . . I got closer to being a father by playing a father. That's very painful to say." The role also reminded him of his own love of children in general: Children are more interesting than anything. I walk my younger child to school every day and I don't like leaving the school. I would like to sit down on those little chairs, at those little tables, and play. And a child's love is like a drug. To have a child throw his arms about you—it's instant stoned. People talk about the rush heroin gives you: I would say children give you that rush. Benton's directing has been praised by Hoffman, who credits him for inspiring the emotional level supporting many scenes: "Perfect directors make you emotional. On Kramer vs. Kramer, Robert Benton made me emotional. He was pulling so hard for me. When I didn't think I could do a scene again I'd say, "I can't give it to you, I haven't got it." Then he'd just get this look on his face and roll the camera and I'd say, "Okay, this is yours." That's what he made you want to do for him—to give him one." 1980s: Tootsie, Death of a Salesman, Rain Man, Family Business in Death of a Salesman (1985) In Tootsie (1982), Hoffman portrays Michael Dorsey, a struggling actor who finds himself dressing up as a woman to land a role on a soap opera. His co-star was Jessica Lange. Tootsie earned ten Academy Award nominations, including Hoffman's fifth nomination. Under direction by Sydney Pollack, Hoffman's role demanded "a steady bombardment of opposites—edgy then funny, romantic then realistic, soft then quivering." To film critic David Denby, Hoffman's character "embodies vulnerability and drive in perfect proportion. He has the knack of making everything he does seem perilous, and so audiences feel protective of him and root for him." Hoffman's acting was made more difficult than necessary, however, as he was not given the rehearsal time Pollock promised: I like to be very prepared, and I feel that the success or failure of a film is many times determined before you start principal photography. I wanted rehearsal very much. I was promised two weeks and was grieved that I didn't get it. We also followed the risky course of starting to shoot with a screenplay that wasn't completed. In 1984, Hoffman starred as Willy Loman in the Broadway revival of Arthur Miller's play, Death of a Salesman He reprised his role in a TV movie of the same name, for which he won the 1985 Emmy Award for Outstanding Lead Actor along with a Golden Globe. Hoffman first read the play at age 16, but today considers the story much like his own: "It was a blueprint of my family. I was the loser, the flunky, and my brother, a high-school varsity football player, was Biff." Author Marie Brenner notes that Hoffman "has been obsessed with the play" throughout his career: "For years he has wanted to be Willy Loman; when he discovered that Arthur Miller was his neighbor in Connecticut, they began to talk about it in earnest." For Hoffman, the story also left a deep emotional impact from the time he first read it: I read that play, and I was just destroyed by it. It was like finding out something terrible about my family. I just shook. I felt like my family's privacy had been invaded. I couldn't even talk about it for weeks. Hoffman rehearsed for three weeks with the play's original star, Lee J. Cobb, and remembers seeing his stage performance: "I'll never forget that period in my life. It was so vivid, so intense, watching Lee J. Cobb and his sixteen-inch guns as Willy. God, how I think about what I saw on that stage!" Brenner adds that Hoffman "has been training like a boxer for the role that so exhausted Cobb he had to be replaced after four months." The original play was directed by Elia Kazan, who Hoffman considers "the perfect director, the best there ever was. . . . God, I would have done anything to have worked with Kazan." Hoffman's worst film failure was Elaine May's Ishtar (1987), co-starring Warren Beatty, who also produced it. Hoffman and Beatty play two down-and-out singer-songwriters who've gone to Morocco for a nightclub gig and get caught up in foreign intrigue. Much of the movie was filmed in Africa. The film faced severe production problems, mostly related to its $55 million cost, and received overwhelmingly negative reviews. However, Hoffman and Beatty liked the film's final cut and tried to defend it. Hoffman and Beatty were unaffected by the flop, and Ishtar became a cult film. Quentin Tarantino, for one, has called it one of his favorite movies, partly due to the humorous lyrics of the songs written by Paul Williams. Hoffman describes why he loves the film: The thing I love about Ishtar, - and I love it with all of its flaws - is that it has a statement to make. And that is: It is far, far better to spend a life being second rate in something that you're passionate about, then to spend a life being first-rate at that which you are not passionate about. I thought that was worth making a movie about. These guys want to be Simon & Garfunkel, but they have no talent at all. They're middle-aged guys, and at the end of the movie they wind up singing "That's Amore" at a Holiday Inn in Morocco. It's fair. It's fair to make a movie about that. Next came director Barry Levinson's Rain Man (1988), where Hoffman starred as an autistic savant, opposite Tom Cruise. Levinson, Hoffman and Cruise worked for two years on the film, and Hoffman's performance gained him his second Academy Award. Behind Hoffman's motivation for doing the film, he has said, "Deep inside, Rain Man is about how autistic we all are." In preparation for the part, Hoffman spent two years befriending autistic people, which included taking them bowling and to fast food restaurants. "It fed my obsession," he has stated. Hoffman had worked at the New York Psychiatric Institute, affiliated with Columbia University, when he was 21. "It was a great experience for me," he has said. "All my life I had wanted to get inside a prison or a mental hospital. . . . I wanted to get inside where behavior, human behavior, was so exposed. All the things the rest of us were feeling and stopping up were coming out of these people." He used that experience to help him develop the character of Raymond Babbitt, a high-functioning autistic savant, yet a person who critic David Denby described as "a strangely shuttered genius." Hoffman created certain character traits for Raymond. Denby noted: "Hoffman, looking suddenly older and smaller, has developed a small shuffling walk for Raymond, with shoulder bent. His eyes don't make contact with anyone else's, and he flattens his voice to a dry nasal bark." Rain Man won four Academy Awards, including Best Picture, Best Actor for Hoffman, and Best Director for Barry Levinson. Having worked closely with Hoffman for two years on filming, Levinson offered some opinions about his skill as an actor: You can't define Dustin Hoffman, because he's unique. He's one of a kind and he's not one character. There is no Dustin Hoffman. He is many, many people. . . . He can do comedy and he can do drama. He has an enormous range, and yet he's still Dustin somewhere in there. He's intelligent and has a great sense of how to connect with people, because he's very interesting. On a day-to-day basis, he's like an actor who's making his first movie, with the enthusiasm and energy to want to make things happen and try things and experiment. After Rain Man, Hoffman appeared with Sean Connery and Matthew Broderick in Family Business (1989), directed by Sidney Lumet. The story centers on the estrangement between Vito (Hoffman), a middle-age man trying to succeed in a legitimate business, and his "hopelessly corrupt but charming father," Jesse (Connery). Critics were mostly not impressed with the story, although the individual performances were praised, especially Connery's. Because of their different acting styles and nationalities, some industry writers thought Connery and Hoffman might not work well together as close family members. "To the surprise of many," note Connery biographers Lee Pfeiffer and Lisa Philip, "the two superstars developed an immediate rapport and chemistry that translates onto the screen." And Lumet remembered: "Sean is extremely disciplined and Dustin is very improvisational, all over the place with his lines. I didn't know where it would end up, but Sean met Dustin improvisation for improvisation, and a great deal of richness and humor came out of it." 1990s: Dick Tracy, Hook, Outbreak, Mad City, Wag the Dog In 1991, Hoffman voiced substitute teacher Mr. Bergstrom in The Simpsons episode "Lisa's Substitute", under the pseudonym Sam Etic. As a reference to this episode, during the episode featuring the Itchy & Scratchy movie, Lisa claims that Dustin Hoffman had a cameo in that movie but didn't use his real name. Throughout the 1990s, Hoffman appeared in many large, studio films, such as Dick Tracy (1990) (where his Ishtar co-star Beatty plays the titular character), Hero (1992) and Billy Bathgate (1991) co-starring with Nicole Kidman who was nominated for a Golden Globe). Hoffman also played the title role of Captain Hook in Steven Spielberg's Hook (also 1991), earning a Golden Globe nomination, and the narrator in Dr. Seuss Video Classics: Horton Hears a Who! (also 1992); in Hook, Hoffman's costume was so heavy that he had to wear an air-conditioned suit under it. Hoffman played the lead role in Outbreak (1995), alongside Rene Russo, Kevin Spacey, Morgan Freeman, Cuba Gooding Jr. and Donald Sutherland. In the film, Hoffman is a medical doctor who uncovers a newly discovered Ebola-like virus which came to the U.S. from Africa in an infected monkey. Hoffman races to stop the virus's spread and find a vaccine before it becomes a worldwide pandemic with no cure. The movie is described by critic Roger Ebert as "one of the great scare stories of our time, the notion that deep in the uncharted rain forests, deadly diseases are lurking, and if they ever escape their jungle homes and enter the human bloodstream, there will be a new plague the likes of which we have never seen." Critic David Denby credits Hoffman with giving the movie much of its thriller-like quality: Tanks and men pour in to herd the terrified population here and there, and Dustin Hoffman, as the supersleuth Army doctor, gives such a lip-biting, anguished performance he absolves the movie of slickness. Hoffman isn't good, exactly; he's tense, edgy, and righteous, like a B-movie actor from the fifties. Following that, he appeared in the 1996 revenge-drama/legal-thriller Sleepers (1996) with Brad Pitt, Jason Patric, and Kevin Bacon. In the mid-1990s, Hoffman starred in—and was deeply involved in the production of—David Mamet's American Buffalo (also 1996), and an early effort of film editor Kate Sanford. In 1997, Hoffman starred opposite John Travolta in the Costa Gavras film Mad City. Hoffman gained his seventh Academy Award nomination for his performance in Wag The Dog (1997), in a role that allowed Hoffman the chance to work with both Robert De Niro and Denis Leary. The movie is a black comedy film produced and directed by Barry Levinson, who also directed Hoffman in Rain Man in 1988. The story takes place a few days before a presidential election, where a Washington, D.C. spin doctor (De Niro) distracts the electorate from a sex scandal by hiring a Hollywood film producer (Hoffman) to construct a fake war with Albania. Hoffman, as a caricature of real life producer Robert Evans, according to some, "gives the kind of wonderfully funny performance that is liable to win prizes, especially since its mixture of affection and murderous parody is so precise. Stanley (Hoffman) conducts business meetings in tennis clothes or in robe and slippers," notes critic Janet Maslin. He next appeared in another Barry Levinson film, the science fiction psychological thriller, Sphere (1998), opposite Sharon Stone. In 1999, Hoffman received the AFI Life Achievement Award and recalls the emotional impact that receiving the award had on him: There was this reel of pictures, me playing all these different roles. I had my first—and only, thank God—panic attack. What followed was depression. . . . It had to do with a central core in me, which was that I never felt I deserved success. 2000s: Finding Neverland, Meet the Fockers, Mr. Magorium's Wonder Emporium Hoffman during the filming of Last Chance Harvey in 2008 Hoffman next appeared in Moonlight Mile (2002), followed by Confidence (2003) opposite Edward Burns, Andy García and Rachel Weisz. Hoffman finally had a chance to work with Gene Hackman in Gary Fleder's Runaway Jury (also 2003), an adaptation of John Grisham's bestselling novel. Hoffman played theater owner Charles Frohman in the J. M. Barrie historical fantasia Finding Neverland (2004), costarring Johnny Depp and Kate Winslet. In director David O. Russell's I Heart Huckabees (also 2004), Hoffman appeared opposite Lily Tomlin as an existential detective team member. Seven years after his nomination for Wag the Dog, Hoffman got a second opportunity to perform again with Robert De Niro, co-starring with Barbra Streisand and Ben Stiller in the 2004 comedy Meet the Fockers, a sequel to Meet the Parents (2000). Hoffman won the 2005 MTV Movie Award for Best Comedic Performance. In 2005, he voiced a horse in Racing Stripes, and appeared in cameo roles in Andy García's The Lost City and on the final episode of HBO sitcom Curb Your Enthusiasm's fifth season. Hoffman appeared in Stranger than Fiction (2006), played the perfumer Giuseppe Baldini in Tom Tykwer's film Perfume: The Story of a Murderer (also 2006), and had a cameo in the same year's The Holiday. In 2007, he was featured in an advertising campaign for Australian telecommunications company Telstra's Next G network, appeared in the 50 Cent video "Follow My Lead" as a psychiatrist, and played the title character in the family film Mr. Magorium's Wonder Emporium. In 2008, although he was reluctant to perform in an animated feature film (Although he had previously performed voices in a version of The Point! and in an episode of The Simpsons), Hoffman had a prominent role as Shifu in the acclaimed film Kung Fu Panda, which was praised in part for his comedic chemistry with Jack Black (whom he tutored in acting for an important scene) and his character's poignantly complex relationship with the story's villain. He later won the Annie Award for Voice Acting in an Animated Feature for Kung Fu Panda and has continued into the role in the franchise's subsequent filmed productions outside of the franchise's television series. He next voiced Roscuro in The Tale of Despereaux. As the title character in Last Chance Harvey, Hoffman acted with co-star Emma Thompson in the story of two lonely people who tentatively forge a relationship over the course of three days. Director Joel Hopkins notes that Hoffman was a perfectionist and self-critical: "He often wanted to try things stripped down, because less is sometimes more. He worries about every little detail." 2010s: Barney's Version, Kung Fu Panda, Little Fockers, Quartet Hoffman in Paris at the French premiere of Quartet, March 2013 He appears in Little Fockers, the critically panned yet financially successful 2010 sequel to Meet the Fockers. However, his character plays a significantly smaller role than in the previous installment. In 2011, Hoffman reprised his role as Shifu in the commercially and critically successful animated film Kung Fu Panda 2. Hoffman starred in the HBO horse-racing drama Luck, as a man involved in bookmaking and casino operations. Luck was cancelled in March 2012 after three horses died on set. Hoffman also directed Quartet, a BBC Films comedy starring Maggie Smith and Tom Courtenay. In 2012, Hoffman's audiobook recording of Jerzy Kosinski's Being There was released at Audible.com. His performance was nominated for a 2013 Audie Award for Best Solo Narration – Male. Personal life With Gottsegen (left), and Jake Hoffman (right) Hoffman married Anne Byrne in May 1969. Hoffman adopted Karina (b. 1966), Byrne's child from a previous marriage, and with Byrne had daughter Jenna (born October 15, 1970). In 1970, Hoffman and Byrne were living in Greenwich Village in a building next door to a townhouse occupied by members of the Weathermen, when a bomb was accidentally detonated in the townhouse's basement, killing three people. In the 2002 documentary The Weather Underground, Hoffman can be seen standing in the street during the aftermath of the explosion. The couple divorced in 1980. He married businesswoman Lisa Gottsegen in October 1980; they have four children – Jacob Edward (born March 20, 1981), Rebecca Lillian (b. March 17, 1983), Maxwell Geoffrey (born August 30, 1984), and Alexandra Lydia (born October 27, 1987). Hoffman has two grandchildren. In an interview, he said that all of his children from his second marriage had bar or bat mitzvahs and that he is a more observant Jew now than when he was younger; he has also lamented that he is not fluent in Hebrew. A political liberal, Hoffman has long supported the Democratic Party and Ralph Nader. In 1997, he was one of a number of Hollywood stars and executives to sign an open letter to then-German Chancellor Helmut Kohl protesting the treatment of Scientologists in Germany, which was published as a newspaper advertisement in the International Herald Tribune. In 2009, he received the freedom of the Italian city Ascoli Piceno for being there during 1972 to shoot the movie Alfredo, Alfredo by Pietro Germi, where he played the role of Alfredo Sbisà. Hoffman is a lifelong fan of Archie Comics and owns a copy of every single issue ever printed. Dustin Hoffman received Kennedy Center Honors in 2012, with the following commendation: "Dustin Hoffman's unyielding commitment to the wide variety of roles he plays has made him one of the most versatile and iconoclastic actors of this or any other generation". Hoffman was successfully treated for cancer in 2013. Filmography and awards Year Title Role Director Notes and awards 1967 The Tiger Makes Out Hap Arthur Hiller 1967 The Graduate Benjamin "Ben" Braddock Mike Nichols BAFTA Award for Most Promising Newcomer to Leading Film Roles Golden Globe Award for New Star of the Year – Actor Nominated – Academy Award for Best Actor Nominated – Golden Globe Award for Best Actor – Motion Picture Musical or Comedy Nominated – Laurel Award for Male Comedy Performance 1968 Madigan's Millions Jason Fister Stanley Prager 1969 Midnight Cowboy Enrico Salvatore "Ratso" Rizzo John Schlesinger BAFTA Award for Best Actor in a Leading Role David di Donatello Award for Best Foreign Actor Laurel Award for Male Dramatic Performance Nominated – Academy Award for Best Actor Nominated – Golden Globe Award for Best Actor - Motion Picture Drama Nominated – New York Film Critics Circle Award for Best Actor Nominated – New York Film Critics Circle Award for Best Supporting Actor 1969 John and Mary John Peter Yates BAFTA Award for Best Actor in a Leading Role Nominated – Golden Globe Award for Best Actor – Motion Picture Musical or Comedy 1970 Little Big Man Jack Crabb Arthur Penn Nominated – BAFTA Award for Best Actor in a Leading Role Nominated – Golden Laurel Award for Male Comedy Performance 1971 Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? Georgie Soloway Ulu Grosbard 1971 Straw Dogs David Sumner Sam Peckinpah 1972 Alfredo, Alfredo Alfredo Sbisà Pietro Germi 1973 Papillon Louis Dega Franklin J. Schaffner 1974 Lenny Lenny Bruce Bob Fosse Nominated – Academy Award for Best Actor Nominated – BAFTA Award for Best Actor in a Leading Role Nominated – Golden Globe Award for Best Actor – Motion Picture Drama Nominated – New York Film Critics Circle Award for Best Actor 1976 All the President's Men Carl Bernstein Alan J. Pakula Nominated – BAFTA Award for Best Actor in a Leading Role 1976 Marathon Man Thomas Babington "Babe" Levy John Schlesinger David di Donatello Award for Best Foreign Actor Nominated – BAFTA Award for Best Actor in a Leading Role Nominated – Golden Globe Award for Best Actor – Motion Picture Drama 1978 Straight Time Max Dembo Ulu Grosbard Also producer 1979 Agatha Wally Stanton Michael Apted National Society of Film Critics Award for Best Actor 1979 Kramer vs. Kramer Ted Kramer Robert Benton Academy Award for Best Actor David di Donatello Award for Best Foreign Actor Golden Globe Award for Best Actor – Motion Picture Drama Kansas City Film Critics Circle Award for Best Actor Los Angeles Film Critics Association Award for Best Actor National Society of Film Critics Award for Best Actor New York Film Critics Circle Award for Best Actor Nominated – BAFTA Award for Best Actor in a Leading Role Nominated – Fotogramas de Plata for Best Foreign Performer 1982 Tootsie Michael Dorsey / Dorothy Michaels Sydney Pollack BAFTA Award for Best Actor in a Leading Role Boston Society of Film Critics Award for Best Actor Golden Globe Award for Best Actor – Motion Picture Musical or Comedy National Society of Film Critics Award for Best Actor Nominated – Academy Award for Best Actor Nominated – David di Donatello for Best Foreign Actor Nominated – New York Film Critics Circle Award for Best Actor Nominated – Utah Film Critics Association Award for Best Actor 1985 Death of a Salesman William "Willy" Loman Volker Schlöndorff Golden Globe Award for Best Actor – Miniseries or Television Film Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie Nominated – Primetime Emmy Award for Outstanding Television Movie Nominated – Silver Ribbon Award for Best Foreign Actor 1987 Ishtar Chuck Clarke Elaine May 1988 Rain Man Raymond "Ray" Babbitt Barry Levinson Academy Award for Best Actor David di Donatello for Best Foreign Actor Golden Globe Award for Best Actor – Motion Picture Drama Kansas City Film Critics Circle Award for Best Actor Utah Film Critics Association Award for Best Actor Nominated – BAFTA Award for Best Actor in a Leading Role Nominated – Chicago Film Critics Association Award for Best Actor Nominated – National Society of Film Critics Award for Best Actor Nominated – New York Film Critics Circle Award for Best Actor 1989 Common Threads: Stories from the Quilt Narrator Rob Epstein & Jeffrey Friedman Documentary 1989 Family Business Vito McMullen Sidney Lumet 1990 Dick Tracy Mumbles Warren Beatty 1990 The Earth Day Special Everylawyer 1991 Billy Bathgate Dutch Schultz Robert Benton 1991 The Simpsons Mr. Bergstrom Episode: "Lisa's Substitute" Credited as Sam Etic 1991 Hook Captain James Hook Steven Spielberg Nominated – Golden Globe Award for Best Actor – Motion Picture Musical or Comedy 1992 Doctor Seuss Video Classics: Horton Hears a Who! Narrator 1992 Hero Bernard "Bernie" Laplante Stephen Frears 1995 Outbreak Colonel Sam Daniels Wolfgang Petersen 1996 American Buffalo Walt 'Teach' Teacher Michael Corrente 1996 Sleepers Danny Snyder Barry Levinson 1997 Mad City Max Brackett Costa-Gavras 1997 Wag the Dog Stanley Motss Barry Levinson Nominated – Academy Award for Best Actor Nominated – Golden Globe Award for Best Actor – Motion Picture Musical or Comedy Nominated – National Society of Film Critics Award for Best Actor Nominated – Satellite Award for Best Actor – Motion Picture Musical or Comedy Nominated – Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Leading Role 1998 Sphere Dr. Norman Goodman Barry Levinson 1999 The Messenger: The Story of Joan of Arc The Conscience Luc Besson 2002 Moonlight Mile Ben Floss Brad Silberling 2003 Confidence Winston King James Foley 2003 Runaway Jury Wendell Rohr Gary Fleder 2004 Finding Neverland Charles Frohman Marc Forster Nominated – Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture 2004 I Heart Huckabees Bernard Jaffe David O. Russell 2004 Meet the Fockers Bernie Focker Jay Roach MTV Movie Award for Best Comedic Performance 2004 Lemony Snicket's A Series of Unfortunate Events The Critic Brad Silberling Uncredited 2005 Racing Stripes Tucker Frederik Du Chau Voice 2005 The Lost City Meyer Lansky Andy García 2006 Perfume: The Story of a Murderer Giuseppe Baldini Tom Tykwer 2006 Stranger than Fiction Professor Jules Hilbert Marc Forster 2006 The Holiday Himself Nancy Meyers Uncredited 2007 Mr. Magorium's Wonder Emporium Mr. Edward Magorium Zach Helm 2008 Kung Fu Panda Master Shifu John Stevenson & Mark Osborne Voice Annie Award for Best Voice Acting in an Animated Feature Production 2008 The Tale of Despereaux Roscuro Sam Fell & Robert Stevenhagen Voice 2009 Last Chance Harvey Harvey Shine Joel Hopkins Nominated – Golden Globe Award for Best Actor – Motion Picture Musical or Comedy 2010 Barney's Version Israel 'Izzy' Panofsky Richard J. Lewis Genie Award for Best Performance by an Actor in a Supporting Role Vancouver Film Critics Circle Award for Best Supporting Actor in a Canadian Film 2010 Jews and Baseball: An American Love Story Narrator Peter Miller Documentary 2010 Little Fockers Bernie Focker Paul Weitz 2011 Kung Fu Panda 2 Master Shifu Jennifer Yuh Nelson Voice 2011–2012 Luck Chester "Ace" Bernstein TV series 2012 Quartet Dustin Hoffman Directorial debut Chicago International Film Festival Award for Best Narrative Feature Hollywood Film Festival Award for Breakthrough Directing Nominated – David di Donatello Award for Best European Film Nominated – Hawaii International Film Festival Award for Best Film 2014 Chef Riva Jon Favreau 2014 Roald Dahl's Esio Trot Mr. Hoppy Dearbhla Walsh 2014 The Cobbler Abraham Simkin Thomas McCarthy 2014 Boychoir Carvelle François Girard 2015 The Program Bob Hamman Stephen Frears Post-production 2016 Kung Fu Panda 3 Master Shifu (voice) Jennifer Yuh Nelson & Alessandro Carloni Post-production References