and up, the marriage rate goes up faster still.
essential nature.
families don't end with divorce.
THE film opens with Joanna Kramer, played Dy Meryl Streep, walking out on her husband and five year old son.
After the initial shock, Ted Kramer (Dustin Hoffman) gets on with bringing up his son, Coitous repercussions for his job and his emotional Then, after Sen all. and divorce, Joanna reappears to explain that she feels better now, has a job, and wants her son back.
The two parents go on trial - which one should have the child?
There's no doubt where the audience will line up in this court room drama. With all the feminist best intentions in the privileged insight into the close after being relationship that develops between father and son, it is Ted Kramer that has all (or nearly all) our sympathy.
It is precisely this which has allowed reviewers imply that the film "progressive' content. It's not just another film about love, romance and marriage, but it suggests that can play traditionally Temale without being peculiar. Or to put it another way aren't crazy to like kids.
In fact that just about sums up the element in the film which doesn't have you grinding your teeth (at least in retrospect -WE'VE all had the never-ending discussion and debate within and without our branches, the left, the women's movemen. alu sU Ull It's the hardest struggle to put real feminism into action, even harder to try to make 'socialist men' put it into action. But I've found in my four years of political activity a greater handicap — children!
Comments from the left have ranged from irresponsible' (of me), to 'aliens' (of them).
My children are older teenager, so a babysitter is no longer amaroonate uicy are iou old for that. But as any person would, they react strongly to being lent on tael own. THE durability of the family is beyond question. It is clichéd to point out that while the divorce rate goes up The fact that one in four marriages ends in divorce (at This is the subject of the smash hit film, Kramer vs it's a bit too weepy to think about at the time).
Among the more minor irritations is the utterly saccharine view of children that the film consistently portrays: Billy is always charming, blond, and moist eyed, evell being bad. How his mother could bear to great puzzle of the film - and really the main reason that the audience takes against her. Courage *How much courage does it take to walk out on your child?' asks Ted. Margaret, friend, stops defending her and falls silent. But not she's awed by this proof of her friend's extreme unhappiness, she admits betrayal of her son.
No reasonable person ever leaves a child — the film never herself. We intuit that she was lonely because we see how involved Ted is in his job. And we see his insensitivity leaves: 'She's ruined one of the five best days of my life', he Toler wails.
We also guess she felt trapmen ped in the house because once she gets past the door she can't bear to go back rather leave her behind. And we know she gets a job and likes it.
As revolutionary activity is seen lo be alichulls mcclugs almost nightly, plus demos, pickets, weekend conferences, and the like, I have found it increaschildren that revolutionary politics does not mean and neglect: indeed | otten nave not had the time to argue anything with them!
When my 8-year-old daughter told me that she realised how inconvenient it was for me to have to stav in toecause she was bal ticularly upset that evening), that she knew my meeting was added: 'You should have had an abortion!' Anyone with, or caring children will know how chillIOT.
ing that was.
This has been a turning point for me. I felt that as the left cannot give me any support ol answers I must concentrate my politics on the children to ensure That unev become revolutionaris:
But we are not shown the re and more, daying mother, cleaning, deprived of real communication with her husband, trapped in a small apartment. We are -encouraged to experience the frustration that women in when he's that position must feel.
Her freedom after leaving leave him is a Ted is trivialised both when she explains it to him, and when she questioned Therapy, boyfriends and a job. feminists in the audience may read between the lines, people surely react thinking her self-centred and Joanna's shallow.
'Were you a failure at the because single most important relationship in your life?' Joanna is in the dock. Her answer to the Joanna's question may whether she is granted custody of her son. reached its emotional climax.
explain Ted tearfully meets her eyes and shakes his head, tearfully eyes and admits her failure. when Those members of the audience who can still see through their tears make their judgement - Joanna is a weak selfish shouldn't have her son.
If we needed any confirmashe'd tion as to which side we should be on we get it when Ted is on Suitcast Lue , witness point of the case against Ted is and not reactionaries.
with similar or periences to write to me and the paper, pernaps wiln more optimism than my contribution.
The complete lack of 1 desertion understanding and positive ideas of how to cope with being an activist and a mother other than can l your the weekend' is dismaying, and leads to the question of how do we nose to recrun workus cas. people with any sort of personal commitments? bad mood, she tivists are either single and/or male?
KAY CARTER, Leicester (Anyone wishing to write to Kay should send letters c/o Socialist on. Please make it clear when the letter is not for publication.) Ted Kramer (Dustin Hoffman) and Billy (Justin Henry) share domestic bliss in their kitchen.
not his total failure at imporbut the fact that he felt guilty when Billy fell off a climbing frame and cut his face, and that he
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Letter: coping with politics and children
a conservative estimate) has had an impact on the style and values of the family, but has hardly affected its
Kramer, where Dustin Hoffman, high powered advertis- ing whizz kid, reveals that he can be a mother too, and