The story centers on Ted Kramer (Dustin Hoffman), a high-powered advertising executive, whose life is turned upside down when his wife, Joanna (Meryl Streep), announces she is leaving him and their young son, Billy (Justin Henry), to find herself and regain her sense of self.

Initially, Ted struggles immensely with the demands of single fatherhood, balancing his demanding career with the responsibilities of caring for Billy, who is also struggling with his mother’s departure. Over time, however, Ted and Billy develop a deep and loving bond as they adapt to their new life.

Fifteen months later, Joanna returns, having found a job and therapy that helped her gain confidence and self-esteem. She now seeks full custody of Billy, leading to a bitter and emotionally charged courtroom battle between her and Ted. The film meticulously portrays both parents’ perspectives, highlighting their flaws and virtues, and the devastating impact of the legal fight on everyone involved, especially Billy.

Ultimately, despite the court ruling in Joanna’s favor, she makes a difficult decision, realizing that Billy’s happiness and stability are paramount, and allows him to remain with Ted.

Below is a collection of 40 amazing photos from the set of the film:

To survive, they collected rainwater to drink and, when their meager food supplies ran out, were forced to catch and eat sea creatures like turtles, seabirds, and fish, often using makeshift hooks made from safety pins. They had been vegetarians before their ordeal and found this necessary act deeply difficult.

They faced numerous hardships, including severe storms that repeatedly capsized their dinghy, the constant need to bail water from their deteriorating raft, and saltwater sores that caused immense pain. They also endured the crushing disappointment of seeing seven ships pass by without spotting them, as their flares failed and they lacked a signaling mirror.

Despite the dire circumstances, they supported each other. Maralyn, in particular, maintained a positive outlook and her faith, while Maurice, initially more pessimistic, was encouraged by her. They would try to distract themselves by reading and playing card games, though these activities became increasingly difficult as they weakened.

Here is Halfon’s description of how the album cover came about:

“George had in mind that, with this record, he wanted to be judged solely on the music, with no image of himself on the cover. His initial thought was a completely plain sleeve – his preferences were blue or white, with silver lettering. I’d been down that particular road with The Style Council, and the orange cover for The Cost of Loving, so I needed no further encouragement. Management on the other hand were not quite so convinced… explaining, in no uncertain terms, that no one would even stock this record with this cover. He could be quite convincing so it was, quite literally, back to the drawing board.

“I’d bought George a coffee table book for his birthday in June. It was an anthology of 20th Century photography, and we started flicking through it for some kind of inspiration, now that the blue cover had been nixed. Immediately, Weegee’s 1940 image of (what was estimated to be) over a million sunbathers jumped off the page. We both looked at each other and said, ‘That’s the cover.’ No typography on the front, just letting the image speak for itself. We were both fans of Peter Saville’s work and I think there was a little bit of that influence on this sleeve. Rolling Stone magazine in 1991 listed this as one of the LP covers of the year, which was pretty cool. Such a great LP; in my opinion it’s the definitive George Michael album.”

Orphaned at the age of four and partially raised in foster homes, she always worked. One of her directors, Jacques Tourneur, said of her, “She only lives for two things, and both of them are work.” She made her debut on stage in the chorus as a Ziegfeld girl in 1923 at age 16, and within a few years was acting in plays. Her first lead role, which was in the hit Burlesque (1927), established her as a Broadway star. In 1929, she transitioned from the stage to the film industry, and began acting in talking pictures.

Stanwyck’s career truly took off with Frank Capra’s romantic drama Ladies of Leisure (1930). This marked the beginning of a fruitful collaboration with Capra, with whom she made several other notable films, including The Miracle Woman (1931), Forbidden (1932), the controversial The Bitter Tea of General Yen (1933), and Gambling Lady (1934).

After taking the last name of her stepfather, John Rogers, she was then known as Ginger Rogers. As a young girl, her mother placed her in many shows in Texas to cultivate her ability to perform. Ginger toured with a vaudeville troupe for a while, and in 1929, she finally got her shot at fame on Broadway when she performed in Top Speed. Just a year later, she appeared in her first motion picture Young Man of Manhattan.

She would later become associated with Fred Astaire and perform in several films with him, including Flying Down to Rio (their first film together, 1933), Top Hat (1934), Follow the Fleet (1939), and a few others.

In 1940, she won an Academy Award for her performance in the film Kitty Foyle. She went on to appear in many other films, and in 1965, she appeared in her last one Harlow. She then went on to do theatre work for many years and occasionally appeared on TV shows.

Rogers died on April 25, 1995, at the age of 83.