1970 Israel FILM POSTER Movie JOHN And MARY Dustin HOFFMAN Mia FARROW Hebrew

$89.00 $83.66 Buy It Now or Best Offer, $25.00 Shipping, 30-Day Returns, eBay Money Back Guarantee
Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285582044615 1970 Israel FILM POSTER Movie JOHN And MARY Dustin HOFFMAN Mia FARROW Hebrew.

DESCRIPTION : Here for sale is an EXCEPTIONALY RARE and ORIGINAL POSTER for the ISRAEL 1970 PREMIERE release of the American ROMANTIC DRAMA film ,    " JOHN and MARY " , Directed by PETER YATES , Starring MIA FARROW and DUSTIN HOFFMAN in the small rural town of NATHANYA in ISRAEL. The cinema-movie hall " CINEMA SHARON" , An Israeli local 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 1970 . Text in HEBREW and ENGLISH . Please note : This is NOT a re-release poster but PREMIERE - FIRST RELEASE projection of the film , A year after its release in 1969 in the USA and worldwide . The Jewish - Judaica ISRAELI distributors of the film have given it a quite archaic and amusing HEBREW text   . The poster also advertises an INDIAN BOLLYWOOD film in matinee show. GIANT size around 28" x 38" ( Not accurate ) . Printed in red and blue . The condition is very good . 2 folds . Very slightly stained.  ( Pls look at scan for accurate AS IS images ) Poster will be sent rolled in a special protective rigid sealed tube. AUTHENTICITYThe POSTER is fully guaranteed ORIGINAL from 1970 ( dated )  , It is NOT a reproduction or a recently made reprint or an immitation , It holds a with life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.   PAYMENTS : Payment method accepted : Paypal 
& All credit cards

SHIPPMENT : SHIPP worldwide via registered airmail is $ 25  . Poster will be sent rolled in a special protective rigid sealed tube. Handling around 5-10 days after payment.  John and Mary is a 1969 American romantic drama film directed by Peter Yates. It stars Dustin Hoffman and Mia Farrow in the title roles, directly on the heels of Midnight Cowboy and Rosemary's Baby, respectively (as well as Bullitt for Yates). The screenplay was adapted by John Mortimer from the Mervyn Jones novel. It was released theatrically in North America on December 14, 1969.[2] It received an R rating upon its original release,[3] which was later downgraded to a PG rating. Contents 1 Synopsis2 Cast3 Critical reception4 Awards5 See also6 References7 External links Synopsis John and Mary begins the morning after John and Mary meet in a bar, during a conversation about Jean-Luc Godard's Week End, and go home with each other. The story unfolds during the day as they belatedly get to know each other over breakfast, lunch and dinner. Flashbacks of their previous bad relationships are interspersed throughout when something in their conversation brings the thought up. Cast Actor Role Mia Farrow Mary Dustin Hoffman John Michael Tolan James Olympia Dukakis John's Mother Stanley Beck Stanley Critical reception Roger Ebert of the Chicago Sun-Times says, "John and Mary is supposed to be a contemporary movie, I guess, and yet it's curiously out of touch. John and Mary shadow box uneasily with the American language, trying to sound like all people their age without sounding too much like any particular person."[4] John Thompson of the Orlando Weekly calls it "a delectable New Wave–inspired dish for thoughtful viewers tired of the same old menu."[5] Vincent Canby of The New York Times concludes, "There is nothing wrong with the idea of John and Mary, just with its execution."[6] Review aggregator Rotten Tomatoes reports 3 positive and 5 negative reviews of the film.[7] Awards Won: 1970 BAFTA Award, Best Actor - Dustin Hoffman (For Midnight Cowboy and John and Mary)[8] Nominated: 1970 BAFTA Award, Best Actress - Mia Farrow (For: Rosemary's Baby, Secret Ceremony and John and Mary)1970 Golden Globes, Best Actor, Musical/Comedy - Dustin Hoffman1970 Golden Globes, Best Actress, Musical/Comedy - Mia Farrow1970 Golden Globes, Best Screenplay - John Mortimer1970 WGA Awards, Best Adapted Screenplay - John Mortimer · "John and Mary" is supposed to be a contemporary movie, I guess, and yet it's curiously out of touch. John and Mary shadow box uneasily with the American language, trying to sound like all people their age without sounding too much like any particular person. And this doesn't work. We don't feel these are two individual human beings; their vocabulary seems to have been chosen in a Gallup Poll. · · · Here's what I mean. The movie is about a boy and a girl who are maybe in their early or mid-twenties. One of the things all people do (even people in their twenties) is to talk about real things. Real names. Real people. Remember the argument about Norman Mailer in "Medium Cool"? · In "John and Mary," however, nobody says anything very characteristic. An example. The story opens in a singles bar, one of those saloons where everybody guzzles beer and tries to pick everybody else up. · The idea is to show Mia Farrow in some sort of interesting conversation that Dustin Hoffman can interrupt. That's how they meet, see! So Dustin eavesdrops while a collegiate type says: "A ten-mile traffic jam and people eating each other -- that's ridiculous it you ask me." · And then Mia, who is enlightened, says: "I think you're missing the point of the whole movie." And then Dustin breaks in: "Uh, I think she's right. I saw that movie at the film festival. I think it's about the materialistic basis of our society . . .." · Well, WHAT movie? Godard's "Weekend" (1968), obviously. So why doesn't anybody use Godard's name or the name or the movie? These are supposed be hip kids. They don't go to "Weekend" and forget to catch the name of the director. My guess is that a nervous studio legal department, in reviewing the script, took out the specific references because they might be libelous. · So we wind up with this detached, ethereal conversation about no particular movie at all (just some anonymous flick about ten-mile traffic jams -- you know). Dialog that's supposed to sound authentic only sounds ridiculous. · Maybe I'm making too big a thing of this one piece of dialog, but I don't think so. It's representative of what's wrong with the whole movie: poor John and Mary are marooned in a universe that only has common nouns and names not protected by copyright. John keeps saying: "Tell me exactly. I want to know exactly." But the rules prohibit Mary from using proper nouns; no wonder their affair is rocky. · There's another problem. This is supposed to be a movie about real, contemporary young people (like the girl down the hall in the four-plus-one, I guess.) But John and Mary act like nobody I've ever met on land or sea. · Here's what happens. John picks up Mary in the bar, likes her looks (the anemic, haunted face grabs him,) takes her home to his pad, sleeps with her, and then the next day (not even knowing each other's names) they gingerly try to decide whether to live with one another. · Mary seems fairly normal, but John has one of those hang-ups that are fashionable in singles bars: He only likes the girl if she doesn't appear to want him to like her too much. She figures this out, and so she pretends and then he pretends. He pretends so hard that she leaves. He races after her. He doesn't know her name, but he does know the general neighborhood she lives in. So he charters a cab and cruises up and down side streets for about five hours, occasionally jumping out of the cab to ask a cop: "Do you know where there are any streets with trees on them? It's a an emergency!" Like I say, just a typical young guy. · Finally he comes back to the apartment, and Mary is there. She was there all the time. She didn't leave, you see. He thought she left, but she was still there, So she waited for him, "I was looking for you," he says. "I know," she says. They go to bed and introduce themselves. Now answer me this: Why didn't she go after him and tell him she hadn't left? He could have saved 30 bucks in cab fares. · This is director Peter Yates' first film with intimate subject matter, after the two excellent action films "Bullitt" and "Robbery." He doesn't get intimate very easily. The characters keep looking at each other out of the side of the camera's eye. And they roam around one of those painfully unlikely apartments. Remember the apartment Sandy Dennis had in "Sweet November" (1968) -- the one with the bed under the skylight and ladders running up to lofts everywhere? Dustin Hoffman has had it done over in white. · While Dustin and Mia are trying to find their way around this labyrinth, Yates shovels in lots of flashbacks to their earlier affairs. She was the mistress of a state representative; he dated a fashion model. Typical. The trouble with the flashbacks is that Yates wants to be fashionable, and so the flashbacks segue directly into the present. Mia drops a glass in an airport, and also in Dustin's kitchen. Dustin talks to his old girlfriend, and he's talking out loud to Mia. After a while you realize the whole movie is based on the premise that the characters unconsciously talk aloud all the time. Even when they don't think they are, is my guess. John and Mary (1969) Screen: 'John and Mary' at the Sutton:A Familiar Love Story Is Told Backward Hoffman-Farrow Team in Constricted Roles By VINCENT CANBY Published: December 15, 1969 "JOHN AND MARY" stars Dustin Hoffman and Mia Farrow as the sort of unattached New Yorkers who frequent singles bars, decorate their walls with pop-posters, stand in line outside the Sutton Theater, possess paperback books of poetry (probably unread), and, in general, find themselves full of muted desperation, imprisoned by the new First Avenue morality that has supposedly liberated them. The film, which opened yesterday at the Sutton, seems quite right on its outside. It was shot in Manhattan (at Friday's, on Riverside Drive, in Murray Hill) and it is paced by the latest cinematic clichés — sudden cuts to flashbacks and fantasies, usually designed as comic punctuation marks to present pretensions. If you look at it closely, however, you see the structure of an old Fred MacMurray-Claudette Colbert comedy, run backward. A young man (John) and a young woman (Mary) meet late on a Friday night at Friday's. They go to bed as strangers and then spend the next 24 hours rattling around John's apartment, alternately insulting each other and making up, trying to find out if they're fond of each other. Fred MacMurray and Claudette Colbert never went to bed together (Heaven and the late Eric Johnston know!) until they were properly married. But, as are John and Mary, they were symbols of an urban culture (made mythic by the stars' pretenses) who acted out the classic mating ritual of pursuit, rebuff, misunderstanding and reconciliation. There is nothing wrong with the idea of "John and Mary," just with its execution. John Mortimer's screenplay is short-focused, its action confined mostly to John's apartment where John and Mary eat, talk and lie about with such dreary verisimilitude that you eventually find yourself less interested in John and Mary than in the settings, clothes and objects that surround them. I was struck (as I'm sure I was meant to be) by a pan shot across John's bedroom that revealed Norman Mailer's "Miami and the Siege of Chicago" standing next to Tom Wolfe's "The Electric Kool Aid Acid Test." In another scene you see his linen closet stacked with bath-towels, which says more about the character of a well-organized, slightly prim bachelor than anything in the dialogue. He's obviously the sort of man who plans ahead, who gets to the laundry before it closes. Hoffman, who is so fine in "Midnight Cowboy," is here upstaged by interior scenery. He gives a performance by combining his mannerisms, including the smile turned tentatively on and off like a light bulb and the stooped strut of an over-age Holden Caulfield. Miss Farrow is also meant to be appealing, but the role is so skimpily written that no amount of mumbling and pausing at odd points in the middle of a sentence can give it much life. What emerges is a character composed partly of the weird waif of "Secret Ceremony," partly of the haunted mother of "Rosemary's Baby," masquerading as an ordinary, almost slovenly girl whose brown jumper dress would probably be covered with cat hairs, if she had a cat. In the supporting cast are Sunny Griffin, as a shrill, high fashion model who was formerly John's mistress, and Michael Tolan, as a married member of Congress with whom Mary had an unhappy affair. They are characters who would be much more comfortable in the pseudo-sophisticated world of MacMurray and Colbert than in the neo-realistic one of Hoffman and Farrow. "John and Mary" is the work of Peter Yates ("Robbery," Bullitt"), who seems most at ease with firm of broadly choreographed movement and suspense. This one has little suspense and no movement, except for that of the camera in confined spaces. The film is not without relevance. People do flop into bed together these days without much preliminary investigation, often (like John and Mary) having exchanged vague opinions on Italian movies but not their own names. Social accuracy, however, can contribute to—but not substitute for—human comedy. JOHN AND MARY, screenplay by John Mortimer, based on the novel by Mervyn Jones; directed by Peter Yates; produced by Ben Kadish; released by 20th Century-Fox. At the Sutton Theater, 57th Street near Third Avenue. Running time: 92 minutes. (The Motion Picture Association of America's Production Code and Rating Administration classifies this film: "R—restricted—persons under 16 not admitted, unless accompanied by parent or adult guardian.") John . . . . . Dustin Hoffman Mary . . . . . Mia Farrow James . . . . . Michael Tolan Ruth . . . . . Sunny Griffin Ernest . . . . . Stanley Beck Hilary . . . . . Tyne Daly Dustin Lee Hoffman[2] (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.[3] 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,[2] 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.[4] 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.[5][6] 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.[7][8][9] 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,[10] 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."[11][12] 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."[13] 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.[14] 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.[15][16] Hackman remembers, "The idea that any of us would do well in films simply didn't occur to us. We just wanted to work."[13] 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.[17] 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",[12] 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.[18] 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."[19]: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."[20] 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.[20]" 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."[18] 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."[18][21] 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.[18] 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.'[22] 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."[22] 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.[22] 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."[22] 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.[23][24][25] 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.[22] 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.[26] 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.[27] 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:"[28] 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.[28] 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."[29] "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."[29] 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 . . . "[30] Lenny was nominated for six Academy Awards, including Best Picture, Best Director, Best Actor, Best Actress, Best Adapted Screenplay, and Best Cinematography.[31] 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."[32] 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."[33] 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".[34] 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.[35] 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.[36] 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.[37] 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."[38] 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.[9] 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."[29] 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.[29] 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."[39] 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."[40] 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."[41] 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.[42] In 1984, Hoffman starred as Willy Loman in the Broadway revival of Arthur Miller's play, Death of a Salesman[43] 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."[13] 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."[44] 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.[44] 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!"[44] 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."[44] 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."[44] 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.[45][46] 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.[47] 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.[47] 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.[48] 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."[29] 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."[49] 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."[49] 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.[50] 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.[51] 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."[51] 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."[52] 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.[53] 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[54] 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.[55] 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.[13] 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,[56] 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."[13] 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.[57] 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.[58] Hoffman also directed Quartet, a BBC Films comedy starring Maggie Smith and Tom Courtenay.[59] 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.[60] 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[citation needed]. 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.[61] A political liberal, Hoffman has long supported the Democratic Party and Ralph Nader.[62] 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.[63] 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.[citation needed] 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".[64] Hoffman was successfully treated for cancer in 2013.[65] 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 María de Lourdes "Mia" Villiers Farrow (born February 9, 1945),[1][2] is an American actress, activist and former fashion model. She first gained notice for her role as Allison MacKenzie in the television soap opera Peyton Place and gained further recognition for her subsequent short-lived marriage to Frank Sinatra. An early film role, as Rosemary in Roman Polanski's Rosemary's Baby (1968), saw her nominated for a BAFTA and a Golden Globe for Best Actress. She went on to appear in films such as John and Mary (1969), Follow Me! (1972), The Great Gatsby (1974) and Death on the Nile (1978). Farrow was in a relationship with actor-director Woody Allen from 1980 to 1992 and appeared in twelve of his thirteen films over that period, including Zelig (1983), Broadway Danny Rose (1984), The Purple Rose of Cairo (1985), Hannah and Her Sisters (1986), Radio Days (1987), Crimes and Misdemeanors (1989), Alice (1990) and Husbands and Wives (1992). Her later film roles include Widows' Peak (1994), The Omen (2006), Be Kind Rewind (2008), Dark Horse (2011) and Luc Besson's Arthur series (2006–2010). Farrow has appeared in more than 50 films and won numerous awards, including a Golden Globe award, received seven additional Golden Globe nominations, three BAFTA nominations and a best actress award at the San Sebastian International Film Festival.[3] Farrow is known for her extensive work as a UNICEF Goodwill Ambassador. She is involved in humanitarian activities in Darfur, Chad, and the Central African Republic. In 2008, Time magazine named her one of the most influential people in the world.[4] Contents 1 Early life2 Career3 Activism abroad4 Personal life 4.1 Marriage to Frank Sinatra4.2 Visit to Ashram4.3 Marriage to André Previn4.4 Relationship with Woody Allen4.5 Children5 Filmography 5.1 Stage6 References7 External links Early life Farrow was born in Los Angeles, California, the third child and eldest daughter of Australian film director John Farrow (John Villiers Farrow) and Irish actress Maureen O'Sullivan, and one of seven children, with older brothers Michael Damien (1939–1958), Patrick (1942–2009)[5] and John Charles (born 1946); and younger sisters Prudence and actresses Stephanie and Tisa.[6] Her eldest brother, Michael Farrow, died in a plane crash in 1958, at age 19;[7] Patrick, a sculptor, committed suicide in 2009.[8] Farrow grew up in Beverly Hills, California, where she occasionally put on performances with "toy daggers and fake blood" for passing celebrity tour buses.[9] Aged two, she made her film debut in a short documentary Unusual Occupations: Film Tot Holiday (1947).[10] She was raised Roman Catholic and "had 13 years of convent education with nuns".[9][11] When she was nine, she contracted polio during an outbreak in Los Angeles reportedly affecting 500 people.[12] She was placed in an isolation ward for three weeks[13] and later said the experience "marked the end of my childhood".[9] Career Farrow having her hair styled by Vidal Sassoon for her role in Rosemary's Baby (1968) Farrow screen-tested for the role of Liesl von Trapp in The Sound of Music, but did not get the part.[14] The footage has been preserved, and appears on the fortieth Anniversary Edition DVD of The Sound of Music.[15] Farrow began her acting career by appearing in supporting roles in several 1960s films. In 1964, she achieved stardom on the popular primetime soap opera Peyton Place as naive, waif-like Allison MacKenzie.[16] Farrow left the series in 1966 at the urging of Frank Sinatra whom she married on July 19, 1966.[17][18] Before her acting career, Farrow worked as a fashion model for many years.[19] Farrow's first leading film role was in Rosemary's Baby (1968), which was a critical and commercial success at the time and continues to be widely regarded as a classic of the horror genre. Her performance garnered numerous awards, including the Golden Globe Award for New Star of the Year – Actress, and established her as a leading actress. Film critic and author Stephen Farber described her performance as having an "electrifying impact... one of the rare instances of actor and character achieving a miraculous, almost mythical match" wherein the question: Does the diabolic exist, was answered with a reality that could not be controverted. Film critic Roger Ebert called the film "brilliant", and noted, "A great deal of the credit for this achievement must go to Mia Farrow, as Rosemary".[20] Following Rosemary's Baby, Farrow was to be cast as Mattie in True Grit and was keen on the role. However, prior to filming she made Secret Ceremony in England with Elizabeth Taylor and Robert Mitchum. While filming, Mitchum told her about True Grit director Henry Hathaway having a reputation for being rude to actresses. Farrow asked producer Hal Wallis to replace Hathaway. Wallis refused and Farrow quit the role which was then given to Kim Darby.[21] Secret Ceremony divided critics, but has gone on to develop a devoted following. Farrow's other late 1960s films include John and Mary, opposite Dustin Hoffman.[citation needed] In the 1970s, Farrow performed in several classical plays in London including Mary Rose, The Three Sisters, and Ivanov.[22] She became the first American actress to join the Royal Shakespeare Company.[23] During this time she appeared in several films, including the thriller See No Evil (1971), French director Claude Chabrol's Docteur Popaul (1972) and The Great Gatsby (1974), in which Farrow played Daisy Buchanan. She appeared in director Robert Altman's cult classic A Wedding (1978). In 1977, she played the title role in The Haunting of Julia. Farrow appeared in several made-for-television films in the 1970s, most notably portraying the title role in a musical version of Peter Pan (1976). In 1979 she appeared on Broadway opposite Anthony Perkins in the play Romantic Comedy by Bernard Slade. In the 1980s and early 1990s, Farrow's relationship with director Woody Allen resulted in numerous film collaborations. She appeared in nearly all of Allen's films during this period, including leading roles in Zelig, Broadway Danny Rose, The Purple Rose of Cairo, Hannah and Her Sisters, Radio Days and Alice (1990). Farrow played Alura, mother of Kara (Helen Slater), in Supergirl (1984) and voiced the title role in the animated film The Last Unicorn (1982). She narrated several of the animated Stories to Remember. Citing the need to devote herself to raising her young children, Farrow worked less frequently during the 1990s. Nonetheless, she appeared in leading roles in several films, including the Irish film Widows' Peak (1994), Miami Rhapsody (1995) and Reckless (also 1995). She appeared in several independent features and made-for-television films throughout the late 1990s and early 2000s and wrote an autobiography, What Falls Away, in 1997.[24] Farrow appeared as Mrs. Baylock, the Satanic nanny, in the remake of The Omen (2006). Although the film itself received a lukewarm critical reception, Farrow's performance was widely praised, with the Associated Press declaring "thank heaven for Mia Farrow" and calling her performance "a rare instance of the new Omen improving on the old one."[25] Filmcritic.com added "it is Farrow who steals the show",[26] and the Seattle Post-Intelligencer described her performance as "a truly delicious comeback role for Rosemary herself, Mia Farrow, who is chillingly believable as a sweet-talking nanny from hell."[27] She worked on several films released in 2007, including the romantic comedy The Ex and the first part of director Luc Besson's trilogy of fantasy films, Arthur and the Invisibles. In 2008, in director Michel Gondry's Be Kind Rewind, she appeared opposite Jack Black, Mos Def and Danny Glover. In 2011, Farrow appeared in the film Dark Horse, directed by Todd Solondz.[28] In September 2014, Farrow returned to Broadway in the play Love Letters. The play was well received by critics[29] with the New York Times calling Farrow's performance "utterly extraordinary… as the flighty, unstable and writing-averse Melissa Gardner."[30] Activism abroad Farrow during a visit to Central African Republic Farrow became a UNICEF Goodwill Ambassador in 2000 and is a high-profile advocate for human rights in Africa, particularly for children's rights. She has worked to raise funds and awareness for children in conflict-affected regions and to draw attention to the fight to eradicate polio.[23] Farrow in 2008 In 2007, Farrow co-founded the Olympic Dream for Darfur campaign, which drew attention to China's support for the government of Sudan. The campaign hoped to change China's policy by embarrassing it in the run-up to the 2008 Summer Olympics held in Beijing. In March 2007, China said it would urge Sudan to engage with the international community. The campaign persuaded Steven Spielberg to withdraw as an artistic adviser to the opening ceremony. During the Olympics, Farrow televised via the internet from a Sudanese refugee camp to highlight China's involvement in the region.[23][31] Farrow and her son Ronan visited 2006 Berlin to be part of a charity auction of United Buddy Bears,[32] which feature designs by artists representing 142 U.N. member states.[33] She has traveled to Darfur several times. Her third trip was in 2007, with a film crew engaged in making the documentary Darfur: On Our Watch.[34] Later in 2007, Farrow offered to "trade her freedom" for the freedom of a humanitarian worker for the Sudan Liberation Army who was being treated in a UN hospital while under threat of arrest. She wanted to be taken captive in exchange for his being allowed to leave the country.[35] Farrow is also a board member of the Washington, D.C. based non-profit Darfur Women Action Group (DWAG).[36] Farrow has received several awards for her humanitarian work[37][38] including the Leon Sullivan International Service award,[39] the Lyndon Baines Johnson Moral Courage Award[40] and the Marion Anderson Award.[41] She has set up a campaigning website, miafarrow.org. In 2008, Time magazine named her one of the most influential people in the world.[23][42] In 2009, Farrow narrated a documentary, As We Forgive, relating the struggle of many of the survivors of the Rwandan Genocide to forgive those who murdered family and friends.[23] To show "solidarity with the people of Darfur", Farrow began a water-only fast on April 27.[43] Farrow's goal was to fast for three weeks, but she called a halt after twelve days on the advice of her doctor.[44] Farrow testified in the trial against former Liberian President Charles Taylor in August 2010.[45] In September, Farrow said she had been paid[46] for a trip to Ecuador to "show her support for indigenous people" after it was published in a lawsuit filed against U.S. oil company Chevron in Ecuador. She stated she would not have gone to Ecuador had she not believed in the cause.[46] Photographs of the actress reaching into the ground and emerging with her left hand covered in oil were widely distributed. An Ecuadorian court ruling ordered the oil company to pay $19 billion in 2011 — later reduced to $9.5 billion — to clean up environmental damage in the Amazon region, purportedly caused by Chevron decades earlier. However, on March 4, 2014 in New York, Judge Lewis Kaplan, in a 485-page decision, "found the Ecuadorian lawsuit was the equivalent of organized crime extorting money from Chevron."[47][48] It was later revealed Judge Lewis Kaplan had undisclosed "significant investments" in Chevron during his ruling.[49] Farrow helped build The Darfur Archives, which document the cultural traditions of the tribes of Darfur.[50] She has filmed some 40 hours of songs, dances, children's stories, farming methods and accounts of genocide in the region's refugee camps that make up the current archives.[51] Since 2011 the Archives have been housed at The Dodd Research Center at the University of Connecticut.[52] In February 2015 Farrow appeared in an episode of A Path Appears, a PBS documentary series from the creators of the Half the Sky Movement. In the episode Farrow travels to Kibera, Kenya’s largest slum, to share stories from organizations providing education to at-risk girls.[53][54] Personal life Marriage to Frank Sinatra Farrow at the 2012 Time 100 On July 19, 1966, Farrow married singer Frank Sinatra at the Las Vegas home of Jack Entratter.[55][56] Farrow was 21 years old at the time while Sinatra was 51.[16] Sinatra wanted Farrow to give up her acting career which she initially agreed to do.[55] She accompanied Sinatra while he was shooting several films but soon tired of doing nothing and signed on to star in Rosemary's Baby. Filming for Rosemary's Baby ran over its initial estimated filming schedule which angered Sinatra who had cast Farrow in a role in his film The Detective. After Farrow failed to report for filming, Sinatra cast actress Jacqueline Bisset in Farrow's role.[57] In November 1967, while Farrow was filming Rosemary's Baby, Sinatra's lawyer served her with divorce papers.[58] Their divorce was finalized in August 1968.[59] Farrow later blamed the demise of the marriage on their age difference and stated that she was an "impossibly immature teenager" when she married Sinatra.[60][61] The two remained friends until Sinatra's death.[60] Visit to Ashram In February 1968, Farrow traveled to India, where she spent part of the year at the ashram of Maharishi Mahesh Yogi in Rishikesh, Uttarakhand, studying Transcendental Meditation.[62] Her visit received worldwide media attention because of the presence of all four members of The Beatles, Donovan, and Mike Love, as well as her sister Prudence Farrow, who inspired John Lennon to write the song "Dear Prudence".[63][64] Marriage to André Previn On September 10, 1970, Farrow married conductor and composer André Previn in London. At the time of their marriage, Farrow was pregnant with twin boys.[65] Farrow had begun a relationship with Previn while he was still married to his second wife songwriter Dory Previn. When Farrow became pregnant, Previn left Dory and filed for divorce. Their divorce became final in July 1970.[66] Dory Previn later wrote a scathing song, entitled "Beware of Young Girls", about the loss of her husband to Farrow.[67] Previn and Farrow divorced in 1979.[14] Relationship with Woody Allen In 1979, Farrow began a relationship with film director Woody Allen.[68][69] During their relationship, Farrow starred in 13[70] of Allen's films, and several of her relatives also made appearances.[69] Their relationship ended when Allen began a romantic relationship with Soon-Yi, the 21-year-old adopted daughter of Farrow.[71] Children As of February 2014, Mia Farrow has thirteen living children (four biological, nine adopted), including her adopted daughter Soon-Yi from whom she is estranged, and ten grandchildren. Two of her adopted children, Tam and Lark, have predeceased her.[72][73] Farrow and former husband André Previn have three biological children (twins Matthew and Sascha (born February 26, 1970) and Fletcher (born March 14, 1974)). In 1973 and 1976, respectively, they adopted Vietnamese infants, Lark Song Previn and Summer "Daisy" Song Previn[74] (both born October 6, 1974), followed by the adoption of Soon-Yi (born c. October 8, 1972) from Korea around 1978. Soon-Yi's precise age and birth date are not known, but a bone scan estimated her age as being between 5 and 7 years old at the time of her adoption.[75] Farrow adopted Moses "Misha" Farrow (born January 27, 1978, adopted 1980), and Dylan Farrow (born July 11, 1985).[76] Dylan was known as "Eliza" for a while and also as "Malone".[77][78] In December 1991 a New York City court allowed Woody Allen to co-adopt Dylan and Moses.[79] On December 19, 1987, Farrow gave birth to their son[80] Satchel O'Sullivan Farrow,[81] later known as Ronan Farrow. In a 2013 interview with Vanity Fair, Farrow stated Ronan could "possibly" be the biological child of her first husband Frank Sinatra, with whom she claimed to have "never really split up".[82] In 1992, Mia alleged that Dylan Farrow, then aged seven, had told her she had been sexually abused by Allen. In August 1992, Allen sued for full custody of his and Farrow's three children, claiming that Farrow was concocting the sexual abuse allegations.[83] The head doctor of the police-appointed medical team gave sworn testimony via a deposition[84] that Dylan "either invented the story under the stress of living in a volatile and unhealthy home or that it was planted in her mind by her mother" because of the "inconsistent" presentation of the story by Dylan.[85] The doctor did not meet with Dylan prior to giving his testimony and delivered his findings based on first-hand accounts of the incident.[86] Justice Elliot Wilk, who rejected Allen's bid for full custody and denied him visitation rights with Dylan, wrote: "I am less certain, however, than is the Yale-New Haven team, that the evidence proves conclusively that there was no sexual abuse."[83] In February 2014, Dylan Farrow publicly renewed her claims of sexual abuse against Allen, in an open letter published by Nicholas Kristof, a friend of Farrow, in his New York Times blog.[87][88][89] Allen repeated his denial of the allegations.[90][91][92] Following the new allegations, Moses Farrow claimed Mia had been the one responsible for mistreatment, claiming she had physically abused him.[93][94] Between 1992 and 1995, Farrow adopted five more children: Tam Farrow (born c. 1981 – died 2000); Kaeli-Shea Farrow, now known as Quincy Maureen Farrow; Frankie-Minh (born 1989); Isaiah Justus (born 1992); Gabriel Wilk Farrow (born 1988; adopted 1995), now known as Thaddeus Wilk Farrow[95] and named after Elliott Wilk, the judge who oversaw Farrow's 1993 legal battle with Allen.[96] Tam Farrow died of heart failure in 2000 at the age of 19 after a long illness.[97] On December 25, 2008, Lark Previn died at the age of 35.[98] Filmography Year Film Role Notes 1959 John Paul Jones uncredited 1964 Guns at Batasi Karen Erickson 1964-1966 Peyton Place Allison Mackenzie TV series, 263 episodes 1968 Secret Ceremony Cenci Nominated—BAFTA Award for Best Actress in a Leading Role (also for Rosemary's Baby & John and Mary) Rosemary's Baby Rosemary Woodhouse David di Donatello Award for Best Foreign Actress (shared with Barbra Streisand for Funny Girl) Nominated—Golden Globe Award for Best Actress – Motion Picture Drama A Dandy in Aspic Caroline 1969 John and Mary Mary Nominated—Golden Globe Award for Best Actress – Motion Picture Musical or Comedy 1971 See No Evil Sarah 1972 Dr. Popaul Christine Dupont 1972 Follow Me! Belinda Prize San Sebastián for Best Actress 1974 The Great Gatsby Daisy Buchanan 1976 Peter Pan Peter Pan 1977 Full Circle (aka The Haunting of Julia) Julia Lofting 1978 A Wedding Elizabeth 'Buffy' Brenner Avalanche Caroline Brace Death on the Nile Jacqueline De Bellefort 1979 Hurricane Charlotte Bruckner 1982 A Midsummer Night's Sex Comedy Ariel Nominated—Golden Raspberry Award for Worst Actress The Last Unicorn Unicorn/Lady Amalthea voice-over Sarah Sarah voice-over 1983 Zelig Dr. Eudora Nesbitt Fletcher Kansas City Film Critics Award for Best Supporting Actress (shared with Linda Hunt for The Year of Living Dangerously) 1984 Broadway Danny Rose Tina Vitale Nominated—Golden Globe Award for Best Actress – Motion Picture Musical or Comedy Supergirl Alura In-Ze Terror in the Aisles archival footage 1985 The Purple Rose of Cairo Cecilia Nominated—BAFTA Award for Best Actress in a Leading Role Nominated—Golden Globe Award for Best Actress – Motion Picture Musical or Comedy Nominated—Saturn Award for Best Actress 1986 Hannah and Her Sisters Hannah Nominated—BAFTA Award for Best Actress in a Leading Role 1987 Radio Days Sally White September Lane 1988 Another Woman Hope 1989 New York Stories Lisa Crimes and Misdemeanors Halley Reed Nominated—David di Donatello Award for Best Foreign Actress 1990 Alice Alice Tate National Board of Review Award for Best Actress Nominated—Golden Globe Award for Best Actress – Motion Picture Musical or Comedy 1991 Shadows and Fog Irmy 1992 Husbands and Wives Judy Roth 1994 Widows' Peak Miss Katherine O'Hare/Clancy 1995 Miami Rhapsody Nina Marcus Reckless Rachel 1997 Private Parts (1997 film) Herself 1999 Forget Me Never Diane McGowin (TV) Nominated—Golden Globe Award for Best Actress – Miniseries or Television Film Coming Soon Judy Hodshell 2002 The Secret Life of Zoey Marcia Carter (TV) Purpose Anna Simmons 2004 Samantha: An American Girl Holiday Grandmary Edwards (TV) 2006 The Omen Mrs. Baylock 2007 Arthur and the Invisibles Daisy Suchot The Ex Amelia Kowalski 2008 Be Kind Rewind Miss Falewicz 2008 As We Forgive Narrator 2009 Arthur and the Revenge of Maltazard Daisy Suchot 2010 Arthur 3: The War of the Two Worlds Daisy Suchot 2011 Dark Horse Phyllis Stage Year Title Role Notes 1963 The Importance of Being Earnest[99] Cecily Cardew Madison Avenue Playhouse 1971 Jeanne d'Arc au bûcher[100] Joan of Arc Royal Albert Hall 1972 Mary Rose[101] Mary Rose Shaw Theatre 1973 Three Sisters[102] Irina Greenwich Theatre The House of Bernarda Alba[103] Jan and Adela 1975 The Marrying of Ann Leete[104] Ann Leete Aldwych Theatre 1976 The Zykovs[105] Pavla Tselovnyeva Ivanov[106] Sasha 1979 Romantic Comedy[107] Phoebe Craddock Ethel Barrymore Theatre 1996 Getting Away with Murder[108] Dr. Bering's Wife Broadhurst Theatre 1999 Who's Afraid of Virginia Woolf?[109] Honey Majestic Theatre 2000 Ahmanson Theatre 2002 The Exonerated[110] Sunny Jacobs US tour 2003 Fran's Bed[111][112] Fran Long Wharf Theatre 2005 Playwrights Horizons 2014 Love Letters[113] Melissa Gardner Brooks Atkinson Theatre EBAY3258
  • Condition: Used
  • Condition: The condition is very good . 2 folds . Very slightly stained. ( Pls look at scan for accurate AS IS images )
  • Country/Region of Manufacture: Israel
  • Religion: Judaism

PicClick Insights - 1970 Israel FILM POSTER Movie JOHN And MARY Dustin HOFFMAN Mia FARROW Hebrew PicClick Exclusive

  •  Popularity - 0 watchers, 0.0 new watchers per day, 122 days for sale on eBay. 0 sold, 1 available.
  •  Best Price -
  •  Seller - 2,805+ items sold. 0% negative feedback. Great seller with very good positive feedback and over 50 ratings.

People Also Loved PicClick Exclusive