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Best Robert Benton Movies
11th Nov 2025
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Robert Benton, a master of character-driven storytelling, has gifted us with a filmography filled with poignant dramas, witty comedies, and everything in between. His ability to capture the complexities of human relationships and the nuances of the American experience has resonated with audiences for decades. From his Oscar-winning triumphs to the lesser-known gems, Benton's work consistently delivers thoughtful narratives that leave a lasting impression. This poll is your chance to celebrate the diverse and enduring legacy of this celebrated director. Now, it's your turn to weigh in! We've compiled a selection of Robert Benton's most memorable films. Which ones stand out as your personal favorites? Cast your votes in the poll below and let us know which of Benton's cinematic creations have captured your heart and imagination. Don't forget to consider the memorable performances, the compelling storylines, and the overall impact each film has had on you. Get ready to share your choices and join the conversation!
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#5.
The Late Show (1977)
5/11
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Robert Benton's 1977 neo-noir gem, *The Late Show*, plunges viewers into the seedy underbelly of Los Angeles, where an over-the-hill gumshoe, Ira Wells (Art Carney), seeks to avenge the killing of an old pal, another detective who had gotten himself involved in a tangled case concerning a murdered broad, stolen stamps, a nickel-plated handgun, a cheating dolly, and a kidnapped pussycat. Paired with the eccentric and motor-mouthed Margo Sperling (Lily Tomlin), a woman equally adept at getting into and out of trouble, Ira navigates a labyrinthine mystery that is both a loving tribute to and a clever deconstruction of classic film noir, brilliantly blending hard-boiled cynicism with unexpected warmth and humor. This film firmly belongs on a list of "Best Robert Benton Movies" because it perfectly exemplifies his strengths as both a writer and director. Benton, known for his incisive character studies and precise storytelling, crafts *The Late Show* into more than just a genre exercise. He uses the familiar noir framework to explore themes of aging, loneliness, and unlikely companionship, grounding the stylized mystery in deeply human performances. Art Carney's portrayal of Ira is a masterclass in weary resignation, earning him an Academy Award nomination, while Lily Tomlin provides a captivating, volatile counterpoint. His sharp screenplay, which also earned an Oscar nomination, is replete with witty dialogue and a keen understanding of how to make genre tropes feel fresh and emotionally resonant. For its clever subversion of genre, its memorable characters, and its enduring emotional resonance, *The Late Show* stands as a definitive example of Benton's skill at elevating genre filmmaking into something profoundly personal and deeply satisfying.
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Kramer vs. Kramer (1979)
**Kramer vs. Kramer (1979)** The powerful 1979 drama *Kramer vs. Kramer* opens as Ted Kramer (Dustin Hoffman) finds his career-driven life upended. His wife, Joanna (Meryl Streep), can no longer tolerate his work-first priorities and abruptly leaves him, seeking to find herself. Ted is suddenly thrust into the unfamiliar and overwhelming responsibilities of solo parenting, managing the household, and caring for their young son, Billy (Justin Henry), all while navigating his demanding advertising job. This sudden shift forces Ted to confront his shortcomings and forge a deep, new bond with Billy. However, just as they find a fragile new rhythm, Joanna returns to seek custody, initiating a bitter and emotionally draining court battle. The film masterfully explores the complexities of divorce, parental rights, and the evolving roles of men and women in the late 1970s, making it a profound and timeless examination of family, sacrifice, and the true meaning of love. *** **Why it belongs on "Best Robert Benton Movies":** Robert Benton's *Kramer vs. Kramer* is not just a film that *belongs* on a "Best Robert Benton Movies" list; it is arguably his most celebrated and defining work. Benton not only directed this emotionally resonant drama but also penned the Oscar-winning adapted screenplay, meticulously crafting a story that was both deeply personal and universally resonant. His sensitive direction allowed for career-defining performances from Dustin Hoffman and Meryl Streep, guiding them through a narrative filled with raw vulnerability and complex moral dilemmas. The film's extraordinary success, including winning the Academy Awards for Best Picture, Best Director, and Best Adapted Screenplay, firmly cemented Benton's reputation as a filmmaker capable of tackling profound human issues with nuance and integrity. He brought a grounded realism to the challenging themes of divorce, single parenthood, and evolving gender roles, creating a landmark film that profoundly impacted audiences and cinema alike, making it an indispensable cornerstone of his esteemed filmography.
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Places in the Heart (1984)
Set against the backdrop of the Great Depression in 1930s Southern US, *Places in the Heart* unfolds the moving narrative of Edna Spalding (Sally Field), a newly widowed mother who, after the accidental death of her husband, must fight to save her family's cotton farm. With seemingly insurmountable odds, she bravely tries to run their operation with the crucial, if sometimes unconventional, help of a disparate group of friends, including a blind boarder (John Malkovich) and a resourceful African American drifter (Danny Glover). The film masterfully explores themes of resilience, community, and the human spirit as Edna and her unexpected allies confront financial ruin, racial prejudice, and the harsh realities of rural life. Written and directed by Robert Benton, *Places in the Heart* is a quintessential example of his empathetic storytelling and precise directorial hand, solidifying its place among his best works. Benton, drawing heavily on his own childhood experiences in Waxahachie, Texas, during the Great Depression, imbues the film with an extraordinary sense of authenticity and emotional depth. His nuanced screenplay, which earned him an Academy Award, masterfully weaves together themes of community, perseverance, and unexpected grace amidst immense hardship. The film also garnered Sally Field a Best Actress Oscar for her indelible portrayal of Edna, a testament to Benton's skill in eliciting powerful performances. Its raw honesty, memorable characters, and the subtly profound exploration of human connection make *Places in the Heart* a deeply moving and enduring piece in Benton's celebrated filmography, showcasing his ability to craft intimate, character-driven dramas that resonate long after the credits roll.
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Nobody's Fool (1994)
Paul Newman delivers a captivating, Oscar-nominated performance as Sully, a seasoned, perpetually down-on-his-luck construction worker in the small, perpetually frozen upstate New York town of North Bath. While attempting to press a workers' compensation suit for a bad knee, he secretly continues to work for his long-time nemesis and former boss, Carl Roebuck, even as he playfully flirts with Carl's young wife, Toby. Sully's carefully constructed world of solitary mischief is upended by the unexpected return of his estranged son, Peter, and his family, forcing Sully to confront long-ignored familial responsibilities and the possibility of connection. Adding to the complications, Sully's kind-hearted landlady, Miss Beryl, finds herself manipulated by her ruthless banker son, who schemes to push through a new development and effectively evict Sully from both his home and her life. Under the deft direction of Robert Benton, *Nobody's Fool* transcends its simple premise to become a poignant and deeply human character study. Benton, known for his nuanced portrayals of everyday life and complex family dynamics in films like *Kramer vs. Kramer* and *Places in the Heart*, imbues this story with his signature blend of melancholy and quiet resilience. He meticulously crafts a vivid sense of place – the snow-dusted, working-class town of North Bath – making it as much a character as Sully himself. The film is a masterclass in understated acting, particularly from Paul Newman, and belongs on a list of "Best Robert Benton Movies" because it perfectly encapsulates his unique ability to find profound emotional depth and humor in the ordinary struggles and small triumphs of unextraordinary people. Benton's precise screenplay and naturalistic direction allow the genuine warmth, regret, and enduring hope of its characters to shine through, cementing its place as a quintessential example of his empathetic and observational filmmaking.
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Bad Company (1972)
**Bad Company (1972)** Jeff Bridges stars as young con man named Jake Rumsey in this highly original Western. After Drew Dixon (Barry Brown), an upright young man, is sent west by his religious family to avoid being drafted into the Civil War, he drifts across the land with a loose confederation of young vagrants. This unlikely pairing forms the core of a gritty, character-driven narrative that explores the harsh realities of youth, survival, and the blurred lines of morality on the American frontier. As the two disparate boys navigate their dangerous journey, they are forced to confront the loss of innocence and the difficult choices required to stay alive, creating a compelling, unsentimental look at the period. Robert Benton's masterful direction and co-writing (with David Newman) are precisely why *Bad Company* earns its place among his best. Benton, known for his character-driven narratives, naturalistic dialogue, and keen eye for authentic detail, transforms a simple premise into a profound coming-of-age story. He expertly crafts the evolving relationship between the pragmatic rogue and the naive idealist, exploring themes of moral compromise and the search for identity with a sensitivity rarely found in the genre. His understated approach allows Bridges and Brown to deliver standout, nuanced performances, making their journey resonate deeply. *Bad Company* is a testament to Benton's ability to create an intimate, profoundly human drama within the grand canvas of a Western, making it a significant and enduring entry in his acclaimed filmography.
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The Late Show (1977)
Robert Benton's 1977 neo-noir gem, *The Late Show*, plunges viewers into the seedy underbelly of Los Angeles, where an over-the-hill gumshoe, Ira Wells (Art Carney), seeks to avenge the killing of an old pal, another detective who had gotten himself involved in a tangled case concerning a murdered broad, stolen stamps, a nickel-plated handgun, a cheating dolly, and a kidnapped pussycat. Paired with the eccentric and motor-mouthed Margo Sperling (Lily Tomlin), a woman equally adept at getting into and out of trouble, Ira navigates a labyrinthine mystery that is both a loving tribute to and a clever deconstruction of classic film noir, brilliantly blending hard-boiled cynicism with unexpected warmth and humor. This film firmly belongs on a list of "Best Robert Benton Movies" because it perfectly exemplifies his strengths as both a writer and director. Benton, known for his incisive character studies and precise storytelling, crafts *The Late Show* into more than just a genre exercise. He uses the familiar noir framework to explore themes of aging, loneliness, and unlikely companionship, grounding the stylized mystery in deeply human performances. Art Carney's portrayal of Ira is a masterclass in weary resignation, earning him an Academy Award nomination, while Lily Tomlin provides a captivating, volatile counterpoint. His sharp screenplay, which also earned an Oscar nomination, is replete with witty dialogue and a keen understanding of how to make genre tropes feel fresh and emotionally resonant. For its clever subversion of genre, its memorable characters, and its enduring emotional resonance, *The Late Show* stands as a definitive example of Benton's skill at elevating genre filmmaking into something profoundly personal and deeply satisfying.
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Feast of Love (2007)
Robert Benton's 2007 film, *Feast of Love*, is a poignant meditation on love and its various incarnations, set within a close-knit community of friends in Oregon. Narrated by a philosophical professor observing the lives around him, the film delves into the magical, mysterious, and sometimes painful facets of human connection. It explores how love manifests in different stages of life, from burgeoning youthful passion and the complexities of mature relationships to the enduring bonds of friendship and the heartache of loss, weaving together multiple storylines to create a rich tapestry of human experience. The narrative beautifully captures the ebb and flow of desire, commitment, and the search for meaning in relationships. Through its ensemble cast, *Feast of Love* portrays the many forms that love can take, showcasing its capacity for both immense joy and profound sorrow. It’s a reflective and deeply humanistic portrayal of the universal quest for connection, celebrating the unpredictable nature of love while acknowledging its challenges. *Feast of Love* earns its place on a "Best Robert Benton Movies" list because it embodies many of the director's enduring thematic and stylistic hallmarks. Benton has consistently gravitated towards character-driven narratives that dissect the intricacies of human relationships, often within grounded, American settings. Similar to his critically acclaimed *Kramer vs. Kramer* or *Places in the Heart*, this film showcases his masterful ability to explore profound emotional landscapes with a quiet, observational sensibility. Benton's strength lies in eliciting nuanced, powerful performances from his ensemble casts, allowing the subtle emotional currents of everyday life to resonate deeply. The film's focus on the tender, sometimes painful realities of relationships, its understated direction, and its empathetic exploration of resilience are all quintessential Benton, making it a fitting and thoughtful addition to his esteemed filmography.
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The Human Stain (2003)
Robert Benton's 2003 film, *The Human Stain*, delves into the complex life of Coleman Silk, a worldly and admired professor who loses his job after unwittingly making a racial slur. To clear his name, Silk writes a book about the events with his friend and colleague Nathan Zuckerman, who in the process discovers a dark secret Silk has hidden his whole life. All the while, Silk engages in an affair with Faunia Farley, a younger woman whose tormented past threatens to unravel the layers of deception Silk has constructed. *The Human Stain* solidifies its place on a list of Best Robert Benton Movies by embodying many of the director's signature strengths. Benton, celebrated for his nuanced character studies and adaptations of complex literary works, masterfully translates Philip Roth's dense novel to the screen. The film expertly navigates themes of identity, racial prejudice, societal hypocrisy, and the deeply personal secrets that shape lives – all recurring concerns in Benton's acclaimed filmography, from *Kramer vs. Kramer* to *Sophie's Choice*. His precise direction draws powerful performances from its ensemble cast, particularly Anthony Hopkins as Silk and Nicole Kidman as Faunia, who deliver the emotional depth required for such intricate roles. Like much of Benton's acclaimed work, it's a thoughtful, challenging drama that explores the darker corners of the human experience with intelligence and empathy, making it a compelling entry in his distinguished filmography.
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Twilight (1998)
Robert Benton's neo-noir gem, *Twilight (1998)*, plunges legendary Paul Newman into the role of Harry Ross, a retired, ailing private detective. Harry's quiet twilight years are shattered when he's asked by an old friend to deliver blackmail money, a seemingly simple task that quickly unravels into a complex murder investigation. He soon finds himself deeply entangled in a two-decade-old cold case concerning the mysterious disappearance of a faded actress's former husband, revealing layers of deceit, loyalty, and long-buried secrets among Hollywood's old guard. With a stellar supporting cast including Susan Sarandon, Gene Hackman, Reese Witherspoon, and James Garner, the film evokes a palpable sense of melancholic nostalgia and impending danger. *Twilight* firmly earns its place among Robert Benton's best due to its masterful blend of character-driven storytelling, nuanced performances, and a pervasive, elegiac mood. Benton, known for his ability to craft intimate dramas within broader narratives (e.g., *Kramer vs. Kramer*, *Places in the Heart*), here applies his touch to the noir genre, transforming a standard mystery into a poignant meditation on aging, regret, and the inescapable weight of the past. He allows his legendary cast ample room to imbue their characters with weariness and complexity, particularly Newman's weary detective, reminiscent of his role in Benton's equally acclaimed *Nobody's Fool*. The film's quiet, reflective pace, coupled with its beautiful cinematography and a script that values emotional truth over pure thrills, makes *Twilight* a mature, sophisticated entry in Benton's distinguished filmography, perfectly showcasing his understated yet profound directorial voice.
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Still of the Night (1982)
Robert Benton's 1982 neo-noir thriller, *Still of the Night*, plunges audiences into a labyrinth of suspicion and desire. The film centers on Dr. Sam Rice (Roy Scheider), a New York psychiatrist whose professional integrity is tested when one of his patients is brutally murdered. When police investigation begins, Rice staunchly refuses to divulge patient information, quickly drawing the suspicions of the authorities. His professional ethics are further complicated by the arrival of the victim's enigmatic mistress, Brooke Reynolds (Meryl Streep), a compelling figure whom Rice finds himself irresistibly drawn to, despite her being a prime suspect. As the pressure from the police intensifies, Rice resolves to uncover the truth himself, only to discover that he, too, has become a target in a dangerous game. What elevates *Still of the Night* into consideration for a "Best Robert Benton Movies" list is its sophisticated take on the neo-noir genre, showcasing Benton's masterful direction of actors and his penchant for psychological depth. He crafts a palpably tense atmosphere, drawing stellar performances from Roy Scheider as the ethically compromised psychiatrist and, particularly, Meryl Streep as the alluring, inscrutable Brooke Reynolds, who imbues her character with layers of vulnerability and menace. Benton deftly navigates the film's intricate plot, exploring themes of obsession, trust, and the blurred lines between professional duty and personal desire, all while building a suspenseful narrative that pays homage to Hitchcock without simply imitating it. It's a stylish, intelligent thriller that, despite being overshadowed by some of his more overtly dramatic works like *Kramer vs. Kramer* or *Places in the Heart*, stands as a testament to Benton's versatility and skill in crafting a captivating, character-driven mystery.
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Billy Bathgate (1991)
**Billy Bathgate (1991)** is a compelling period crime drama that meticulously transports audiences to the bustling, dangerous underworld of 1930s New York. The film vividly brings to life its central premise: "In the year 1935, a teen named Billy Bathgate finds first love while becoming the protégé of fledgling gangster Dutch Schultz." This coming-of-age narrative sees the astute and observant Billy drawn into the magnetic and perilous orbit of one of the era's most notorious mobsters. As he navigates a world of violence, loyalty, and betrayal, Billy experiences the intoxicating thrill of power and a forbidden romance, forcing him to confront the profound moral compromises inherent in his dangerous new life. Robert Benton's masterful direction elevates *Billy Bathgate* beyond a simple gangster flick, solidifying its place on any list of his best work. Benton, celebrated for his ability to craft nuanced character studies and elicit powerful performances, imbues this narrative with a characteristic depth. Much like in his acclaimed *Kramer vs. Kramer* or *Places in the Heart*, he deftly explores complex human relationships—here, the fraught mentor-protégé bond between Billy and Schultz (played by a menacing Dustin Hoffman), and Billy's tender first love amidst brutal circumstances. Benton's subtle yet precise hand ensures the film is visually stunning, capturing the period's glamour and grit, while never shying away from the moral ambiguities central to the story. It stands as a testament to his consistent skill in transforming genre material into intelligent, character-driven drama, showcasing his ability to find the human heart within even the darkest of tales.
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Nadine (1987)
Robert Benton's 1987 film *Nadine* plunges audiences into a quirky neo-noir caper following hairdresser Nadine Hightower (Kim Basinger) as she attempts to retrieve risqué photos from a photographer. However, her visit takes a dark turn when she witnesses his murder by an intruder. Soon, Nadine ropes her estranged husband, Vernon (Jeff Bridges), into returning to the crime scene, where they inadvertently stumble upon plans for a highly illegal construction project. Their attempt to leverage these documents for a quick cash windfall quickly escalates into a madcap chase, as Vernon and Nadine find themselves pursued by dangerous goons with guns, entangled in a far bigger conspiracy than they anticipated across the desolate landscapes of Texas. While often overshadowed by Benton's more dramatic and acclaimed works, *Nadine* is a quintessential entry on a "Best Robert Benton Movies" list for its masterful blend of genres and deeply human touch. It showcases Benton's signature ability to craft character-driven narratives, even amidst thrilling plots, by using the escalating danger as a backdrop to explore the frayed but ultimately resilient relationship between Nadine and Vernon. Their sharp, often humorous banter, coupled with moments of genuine concern for each other, embodies Benton's knack for portraying complex human connections with nuance and wit. Like many of his acclaimed films, *Nadine* takes ordinary individuals and thrusts them into extraordinary circumstances, revealing their strengths and vulnerabilities in the process, making it a valuable, albeit perhaps lesser-known, gem in his esteemed filmography.
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