text:
Midnight Cowboy

Midnight Cowboy is a 1969 American drama film directed by John Schlesinger, adapted by Waldo Salt from the 1965 novel of the same name by James Leo Herlihy. The film stars Dustin Hoffman and Jon Voight, with supporting roles played by Sylvia Miles, John McGiver, Brenda Vaccaro, Bob Balaban, Jennifer Salt and Barnard Hughes. Set in New York City, Midnight Cowboy depicts the unlikely friendship between two hustlers: naïve prostitute Joe Buck (Voight) and ailing con man Rico Rizzo (Hoffman), referred to as "Ratso".

At the 42nd Academy Awards, the film won three awards: Best Picture, Best Director, and Best Adapted Screenplay. Midnight Cowboy is the only X-rated film (equivalent of the current NC-17 rating) to win Best Picture. It placed 36th on the American Film Institute's list of the 100 greatest American films of all time, and 43rd on its 2007 updated version.

In 1994, Midnight Cowboy was deemed "culturally, historically or aesthetically significant" by the Library of Congress, and selected for preservation in the United States National Film Registry.

Plot
Young Texan Joe Buck quits his dishwashing job, and heads by bus to New York City in cowboy attire to become a male prostitute. Initially unsuccessful, he finally beds a middle-aged woman, Cass, in her Park Avenue apartment. She is insulted when he requests payment, and Joe ultimately gives money to her.

Joe meets Rico "Ratso" Rizzo, an indigent con man with a limp who takes $20 for introducing him to a pimp. After discovering that the alleged pimp is actually an unhinged religious fanatic, Joe flees and unsuccessfully searches for Rico. Joe spends his days wandering the city, listening to his Zenith portable radio and sitting in his hotel room. When his money runs out, management locks Joe out and impounds his belongings.

In an attempt to make money, Joe receives oral sex from a meek young man in a movie theater, but the man cannot pay. Joe threatens him, but releases him unharmed. The next day, Joe spots Rico at a diner, and angrily confronts him. Rico manages to calm Joe, and invites him to share his squalid, condemned apartment squat. Joe reluctantly accepts, and the two begin a "business relationship" as hustlers. Rico asks Joe to call him "Rico" instead of "Ratso", but Joe does not oblige. They struggle with severe poverty, stealing food and failing to get work for Joe. Joe pawns his radio and sells his blood, while Rico's persistent cough worsens during a winter without heat.

In intermittent flashbacks, Joe's grandmother raises him after his mother abandons him. He has a tragic relationship with Annie, disclosed through hazy flashbacks in which they are attacked and raped by a cowboy gang. Annie shows signs of mental trauma and is taken into an ambulance.

Rico tells Joe his father was an illiterate Italian immigrant shoeshiner whose job yielded a bad back and lung damage from inhaling shoe polish. Rico learned shoeshining from his father, but considers it degrading and generally refuses to do it. When he breaks into a stand and shines Joe's cowboy boots to attract clients, two police officers arrive and sit with their dirty boots next to Joe's. Rico dreams of escaping to Miami, shown in fantasies in which he and Joe frolic on a beach and are pampered at a resort, including a boy polishing Rico's boots.

A Warhol-like filmmaker and an extrovert female artist approach Joe in a diner, taking his photograph and inviting him to a Warhol-esque art event. Joe and Rico attend, but Rico's poor health and hygiene attract unwanted attention. After mistaking a joint for a cigarette and receiving uppers, Joe hallucinates. He leaves with Shirley, a socialite who pays him $20 for spending the night, but Joe cannot perform sexually. They play Scribbage, and the resulting wordplay leads Shirley to suggest that Joe may be gay; suddenly, he is able to perform. The next morning, she sets up her female friend as Joe's client, and his career appears to be progressing.

When Joe returns to the apartment, Rico is severely feverish. He refuses medical help, and begs Joe to put him on a bus to Florida. Desperate, Joe picks up an effeminate middle-aged man in an arcade. The two return to the man's hotel room, where Joe demands money. However, when the man refuses to give him more than $10, Joe brutally beats, robs, and apparently smothers him. Joe buys two bus tickets to Florida with the stolen cash. Rico again tells Joe that he wants to be called "Rico", not "Ratso", and Joe finally begins to oblige. During the bus trip, Rico's health worsens, and he suffers from urinary incontinence.

Joe buys new clothing for Rico and himself at a rest stop, discarding his cowboy outfit. Back on the bus, Joe muses that there must be an easier way to make money than hustling, and tells Rico that he will get a regular job in Miami. When he does not respond, Joe realizes that Rico has died. Joe alerts the bus driver, who asks Joe to close Rico's eyelids, saying that they will soon be in Miami. The other passengers stare. Teary-eyed, Joe sits with his arm around his dead friend as the bus continues past rows of Floridian palm trees.

Cast

 * Dustin Hoffman as "Ratso" or Enrico Salvatore "Rico" Rizzo
 * Jon Voight as Joe Buck
 * Sylvia Miles as Cass
 * John McGiver as Mr. O'Daniel
 * Brenda Vaccaro as Shirley
 * Barnard Hughes as Towny
 * Ruth White as Sally Buck
 * Jennifer Salt as Annie
 * Gilman Rankin as Woodsy Niles
 * Georgann Johnson as Rich Lady
 * Anthony Holland as TV Bishop
 * Bob Balaban as Young Student
 * Viva as Gretel McAlbertson, the Warhol-like The Factory party/happening giver
 * Paul Rossilli (aka Gastone Rossilli) as Hansel McAlbertson, The Factory party/happening filmmaker
 * Craig Carrington as Charlie Dealer

Production
The opening scenes were filmed in Big Spring, Texas, in 1968. A roadside billboard, stating, "If you don't have an oil well...get one!", was shown as the New York-bound bus carrying Joe Buck rolled through Texas. Such advertisements, common in the Southwestern United States in the late 1960s and through the 1970s, promoted Eddie Chiles's Western Company of North America.

In the film, Joe stays at the Hotel Claridge, at the southeast corner of Broadway and West 44th Street in Midtown Manhattan. His room overlooked the northern half of Times Square. The building, designed by D. H. Burnham & Company and opened in 1911, was demolished in 1972. A motif featured three times throughout the New York scenes was the sign atop of the facade of the Mutual of New York (MONY) Building at 1740 Broadway. It was extended into the Scribbage scene with Shirley the socialite, when Joe's incorrect spelling of the word "money" matched that of the sign.

Dustin Hoffman, who played a grizzled veteran of New York's streets, is from Los Angeles. Despite his portrayal of Joe Buck, a character hopelessly out of his element in New York, Jon Voight is a native New Yorker, hailing from Yonkers. Voight was paid "scale" (the Screen Actors Guild minimum wage) for his portrayal of Joe Buck, a concession he willingly made to obtain the part. Harrison Ford auditioned for the role of Joe Buck. Michael Sarrazin, who was Schlesinger's first choice, was cast as Joe Buck, only to be fired when unable to gain release from his contract with Universal.

The line, "I'm walkin' here!", which reached number 27 on AFI's 100 Years...100 Movie Quotes, is subject to differing accounts. Producer Jerome Hellman disputes the notion that it was an ad-lib on the two-disc DVD set of Midnight Cowboy. The scene, which originally had Ratso pretend to be hit by a taxi to feign an injury, is written into the first draft of the original script. Hoffman, however, on an installment of Bravo's Inside the Actors Studio, stated that there were many takes to hit the traffic light just right so they would not have to pause while walking. In that take, the timing was perfect, but a cab nearly hit them. Hoffman wanted to say, "We're filming a movie here!", but stayed in character, allowing the take to be used.

On initial review by the Motion Picture Association of America, Midnight Cowboy received an "R" ("Restricted") rating. However, after consulting with a psychologist, executives at United Artists were told to accept an "X" rating, due to the "homosexual frame of reference" and its "possible influence on youngsters". The film was released with an X rating. The MPAA later broadened the requirements for the "R" rating to allow more content, and raised the age restriction from 14 to 17. The film was later rated "R" for a reissue in 1971.

It took several hours to shoot the rape scene, and Jennifer Salt recalls the evening as a traumatic ordeal for her. The wardrobe crew had given Jennifer a nude-colored body suit to wear, but the night was so hot and sticky that she quickly stripped it off. "I felt that the most horrible thing in the world was that people were seeing my bare ass, and that was so humiliating I could not even discuss it. And this kid was just on top of me and all over me and it hurt and no one gave a fuck and it was supposed to look like I was being raped. And I was screaming, screaming, and it was traumatic in some way that couldn't be acknowledged."

Reception
Critical response to the film has been largely positive. Vincent Canby's lengthy 1969 review in The New York Times was blunt: "a slick, brutal (but not brutalizing) movie version of... Herlihy's 1965 novel. It is tough and good in important ways, although its style is oddly romantic and at variance with the laconic material.... As long as the focus is on this world of cafeterias and abandoned tenements, of desperate conjunctions in movie balconies and doorways, of ketchup and beans and canned heat, Midnight Cowboy is so rough and vivid that it's almost unbearable.... Midnight Cowboy often seems to be exploiting its material for sensational or comic effect, but it is ultimately a moving experience that captures the quality of a time and a place. It's not a movie for the ages, but, having seen it, you won't ever again feel detached as you walk down West 42nd Street, avoiding the eyes of the drifters, stepping around the little islands of hustlers and closing your nostrils to the smell of rancid griddles."

Gene Siskel of the Chicago Tribune said of the film: "I cannot recall a more marvelous pair of acting performances in any one film."

In a 25th-anniversary retrospective in 1994, Owen Gleiberman of Entertainment Weekly wrote: "Midnight Cowboy's peep-show vision of Manhattan lowlife may no longer be shocking, but what is shocking, in 1994, is to see a major studio film linger this lovingly on characters who have nothing to offer the audience but their own lost souls."

As of 2022, Midnight Cowboy holds an 89% approval rating on online review aggregator Rotten Tomatoes, with an average rating of 8.50/10, based on 116 reviews. The website's critical consensus states: "John Schlesinger's gritty, unrelentingly bleak look at the seedy underbelly of urban American life is undeniably disturbing, but Dustin Hoffman and Jon Voight's performances make it difficult to turn away."

The Japanese filmmaker Akira Kurosawa cited this movie as one of his 100 favorite films.

Box office
The film opened at the Coronet Theatre in New York City, and grossed a house record $61,503 in its first week. In its tenth week of release, the film became number one in the United States, with a weekly gross of $550,237, and was the highest-grossing movie in September 1969. The film earned $11 million in rentals in the United States and Canada in 1969, and added a further $5.3 million the following year when it won the Academy Award for Best Picture. It eventually earned rentals of $20.5 million in the United States and Canada. By 1975, it had earned rentals of over $30 million worldwide.

Television premiere
More than five years after its theatrical release, Midnight Cowboy premiered on television November 3, 1974. Twenty-five minutes were edited from the film due to censorship regulations and a desire for broader appeal. Although the cuts were approved by director John Schlesinger, critic Kay Gardella of the New York Daily News said the film was "hacked up pretty badly".

Soundtrack
John Barry composed the score, winning a Grammy Award for Best Instrumental Theme, although he did not receive an on-screen credit. Fred Neil's song, "Everybody's Talkin", won a Grammy Award for Best Contemporary Vocal Performance, Male for Harry Nilsson. Schlesinger chose the song as its theme, and the song underscores the first act. Other songs considered for the theme included Nilsson's own "I Guess the Lord Must Be in New York City" and Randy Newman's "Cowboy". Bob Dylan wrote "Lay Lady Lay" to serve as the theme song, but did not finish it in time. The movie's main theme, "Midnight Cowboy", features harmonica by Toots Thielemans, but the album version is played by Tommy Reilly. The soundtrack album was released by United Artists Records in 1969.

Theme song

 * John Barry's version, used on the soundtrack, charted at No. 116 in 1969. It also charted at No. 47 in the U.K. in 1980.
 * Johnny Mathis' rendition, one of only two known recordings containing lyrics (the other being the Ray Conniff Singers), reached No. 20 on the U.S. adult contemporary chart in the fall of 1969.
 * Ferrante & Teicher's version, the most successful, reached No. 10 on the U.S. Billboard Hot 100, and No. 2 on the easy listening chart. It went to No. 11 in Canada and No. 91 in Australia in 1970.
 * Faith No More released a version as the final track on their 1992 album Angel Dust.

title: Midnight Cowboy


text:
Dustin Hoffman

Dustin Lee Hoffman (born August 8, 1937) is an American actor and filmmaker. As one of the key actors in the formation of New Hollywood, Hoffman is known for his versatile portrayals of antiheroes and emotionally vulnerable characters. His accolades include two Academy Awards, four BAFTA Awards, five Golden Globe Awards, and two Primetime Emmy Awards. Hoffman has received numerous honors, including the Cecil B. DeMille Award in 1997, the AFI Life Achievement Award in 1999, and the Kennedy Center Honors Award in 2012. Actor Robert De Niro has described him as "an actor with the everyman's face who embodied the heartbreakingly human".

Hoffman studied at the Los Angeles Conservatory of Music before he decided to go into acting, for which he trained at the Pasadena Playhouse. He received two Academy Awards for Best Actor, for Kramer vs. Kramer (1979) and Rain Man (1988). His other Oscar-nominated roles are for The Graduate (1967), Midnight Cowboy (1969), Lenny (1975), Tootsie (1982), and Wag the Dog (1997). Other notable roles include in Little Big Man (1970), Papillon (1973), Marathon Man (1976), All the President's Men (1976), Ishtar (1987), Dick Tracy (1990), and Hook (1991).

In the 21st century, Hoffman has appeared in films such as Finding Neverland (2004), I Heart Huckabees (2004), and Stranger than Fiction (2006), as well as Meet the Fockers (2004) and the sequel Little Fockers (2010) and The Meyerowitz Stories (2017). Hoffman has done voice work for The Tale of Despereaux (2008) and the Kung Fu Panda film series (2008–2024). In 2012, he made his directorial debut with Quartet.

Hoffman made his Broadway debut in the 1961 play A Cook for Mr. General. He subsequently starred as Willy Loman in the 1984 revival of Death of a Salesman and reprised the role a year later in a television film, earning a Primetime Emmy Award for Outstanding Actor in a Limited Series or Movie. In 1989, he received a Tony Award for Best Actor in a Play nomination for his role as Shylock in The Merchant of Venice. He has received three Drama Desk Awards, for his performances in Eh? (1967), Jimmy Shine (1969), and Death of a Salesman (1984), respectively.

Early life and education
Dustin Lee Hoffman was born on August 8, 1937, in Los Angeles, California, the younger of two sons of Harry Hoffman (1908–1987) and Lillian (née Gold; 1909–1982). His father worked as a prop supervisor (set decorator) at Columbia Pictures before becoming a furniture salesman.

Hoffman was named after stage and silent screen actor Dustin Farnum. He has an elder brother Ronald, who is a lawyer and economist. Hoffman is Jewish, from an Ashkenazi Jewish family of immigrants from Kyiv, Ukraine (then a part of the Russian Empire), and Iași, Romania. The family's surname was spelled Гойхман (Goikhman) in the Russian Empire.

His upbringing was nonreligious, and 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 the age of 10.

Hoffman graduated from Los Angeles High School in 1955 and enrolled at Santa Monica College with the intention of studying medicine. But he decided to become an actor, leaving the next year to join the Pasadena Playhouse, although when he told his family about his career goal, his Aunt Pearl warned him, "You can't be an actor. You are not good-looking enough." He also studied with Lee Strasberg and has stated that he did not study with either Sanford Meisner or Stella Adler.

Hoffman initially hoped to become a classical pianist, having studied piano during much of his youth and in college. While at Santa Monica College, he also took an acting class, which he assumed would be easy, and "caught the acting bug". He recalls: "I just was not gifted in music. I did not have an ear." Now an aspiring actor, he spent the next ten years doing odd jobs, being unemployed, and struggling to get any available acting roles, a lifestyle he was later to portray in the comedy film Tootsie. Hoffman composed a song called "Shooting the Breeze", alongside Bette Midler who wrote the words.

1960–1966: Early theatre roles
Hoffman's first acting role was at the Pasadena Playhouse, alongside future Academy Award–winner Gene Hackman. After two years there, Hackman headed for New York City, with Hoffman soon following. Hoffman, Hackman, and Robert Duvall lived together in the 1960s, whilst all three of them focused on finding acting jobs. Hackman remembers, "The idea that any of us would do well in films simply didn't occur to us. We just wanted to work". Hoffman's appearance—Duvall described him as Barbra Streisand in drag—and small size made him uncastable, Vanity Fair later wrote. During this period, Hoffman got occasional television bit parts, including commercials but, needing income, he briefly left acting to teach.

Hoffman then studied at Actors Studio and became a dedicated method actor. In 1960 Hoffman was cast in a role in an off-Broadway production and followed with a bit part in his Broadway debut in production, A Cook for Mr. General (1961). In 1962, appeared in Rabbit Run Theatre's summer stock production of Write Me A Murder in Madison, Ohio and served as an assistant director to Ulu Grosbard on The Days and Nights of Beebee Fenstermaker at off-Broadway's Sheridan Square Playhouse. In 1964, Hoffman appeared in Three Men on a Horse at Princeton's McCarter Theatre and in 1965, in off-Broadway's Harry, Noon and Night with Joel Grey. On June 23, 1965, he played Mendy in a practice run of Philip Roth's abandoned off-broadway play The Nice Jewish Boy, directed by Gene Saks and co-starring Melinda Dillon. Grosbard and Hoffman reunited for a 1965 recording of Death of a Salesman starring Lee J. Cobb and Mildred Dunnock, with Hoffman playing Bernard. He was assistant director for Grosbard's 1965 off-Broadway production of A View from the Bridge starring Robert Duvall and Jon Voight and in late 1965, stage managed and appeared in Grosbard's The Subject Was Roses on Broadway. Hoffman's "sharply outlined and vividly colored" performance in off-Broadway's The Journey of the Fifth Horse in April 1966 was followed by another critical success in the play Eh?, by Henry Livings, which had its U.S. premiere at the Circle in the Square Theatre on October 16, 1966. Sidney W. Pink, a producer and 3D-movie pioneer, discovered Hoffman 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.

Hoffman starred in the 1966 off-Broadway play Eh?, for which he received a Drama Desk Award. 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.

1967–1969: The Graduate and breakthrough
In 1966, director Mike Nichols auditioned Hoffman for a lead role in the Broadway musical The Apple Tree but rejected him because he could not sing well enough and gave Alan Alda the part. But Nichols was so impressed with Hoffman's overall audition he cast him as the male lead in the movie The Graduate (1967). Hoffman played the character of Benjamin Braddock, a recent college graduate who has an affair with Mrs. Robinson, the wife of his father's law partner. This was Hoffman's first major role, and he received an Academy Award nomination for it but lost to Rod Steiger for In the Heat of the Night.

Although Life magazine joked that "if Dustin Hoffman's face were his fortune, he'd be committed to a life of poverty", The Graduate was a gigantic box office hit for Embassy Pictures, making Hoffman a major new star at the same time. The film received near-unanimous good reviews. Time magazine called Hoffman "a symbol of youth" who represented "a new breed of actors". The film's screenwriter, Buck Henry, notes that Hoffman's character made conventional good looks no longer necessary on screen, "A whole generation changed its idea of what guys should look like. ... I think Dustin's physical being brought a sort of social and visual change, in the same way people first thought of Bogart. They called him ugly". Hoffman's success amazed friends from his early years as an actor, who told him "You were the last one I expected to make it". Biographer Jeff Lenburg wrote 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".

Turner Classic Movies critic Rob Nixon notes that Hoffman represented "a new generation of actors". He credits Hoffman with breaking "the mold of the traditional movie star and brought to their roles a new candor, ethnicity, and eagerness to dive deep into complex, even unlikable characters." Nixon expands on the significance of the film to Hoffman's career: "In The Graduate, he created a lasting resonance as Ben Braddock that made him an overnight sensation and set him on the road to becoming one of our biggest stars and most respected actors. " Hoffman, however, mostly credits director Mike Nichols for taking a great risk in giving him, a relative unknown, the starring role: "I don't know of another instance of a director at the height of his powers who would take a chance and cast someone like me in that part. It took tremendous courage."

Critic Sam Kashner observed strong similarities between Hoffman's character and that of Nichols when he previously acted with Elaine May in the comedy team of Nichols and May. "Just close your eyes and you'll hear a Mike Nichols—Elaine May routine in any number of scenes." Buck Henry also noticed that "Dustin picked up all these Nichols habits, which he used in the character. Those little noises he makes are straight from Mike", he says. After completing The Graduate, Hoffman turned down most of the film roles offered to him, preferring to go back to New York and continue performing in live theater. He returned to Broadway to appear in the title role of the musical Jimmy Shine. Hoffman won a Drama Desk Award for Outstanding Performance."I was a theater person. That's how my friends were, too, Gene Hackman and Bobby Duvall. I wasn't going to be a movie star. I wasn't going to sell out. We wanted to be really good actors. I told them, "I'm going out to make this movie. Don't worry, I'm coming right back."

Hoffman was paid $20,000 for his role in The Graduate, but netted just $4,000 after taxes and living expenses. After spending that money, Hoffman filed for New York State unemployment benefits, receiving $55 per week while living in a two-room apartment in the West Village of Manhattan. 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. Peter Biskind wrote, "it was the very contrast between his preppy character in The Graduate, and Ratso Rizzo" that appealed to Hoffman. 'I had become troubled,' recalls Hoffman, 'by the reviews that I read of The Graduate, that I was not a character actor, which I like to think of myself as. It hurt me. Some of the stuff in the press was brutal.'" Critics assumed that director Mike Nichols got lucky by finding a typical actor with average acting ability to play the part of Benjamin Braddock.

John Schlesinger, who would direct Midnight Cowboy and was seeking lead actors, held that same impression. Hoffman's performance as a button-down college graduate and track star was so convincing to Schlesinger, "he seemed unable to comprehend the fact that he was acting", notes Biskind. To help the director, whom he had never met, overcome that false impression, Hoffman met him in Times Square dressed as a homeless person, wearing a dirty raincoat, his hair slicked back and with an unshaven face. Schlesinger was sold, admitting, "I've only seen you in the context of The Graduate, but you'll do quite well." Midnight Cowboy premiered in theaters across the United States in May 1969. For his acting, Hoffman received his second Oscar nomination and the film won Best Picture. In 1994 the film was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry. Biskind considers Hoffman's acting a major accomplishment:

"Midnight Cowboy makes us a gift of one of the landmark performances of movie history: Dustin Hoffman's Ratso Rizzo, with Jon Voight's Joe Buck a close second. From a cesspool of dark, foul, even taboo material, ... it rescues a true humanism that need not hide its name."

Also in 1969, Hoffman co-starred with Mia Farrow in the Peter Yates's romantic drama film John and Mary. He received a 1970 British Academy Film Award for Best Actor for his performance in the film, although the film received mixed reviews. He was also nominated for a Golden Globe Award for Best Actor in a Musical or Comedy Motion Picture The film was made soon after the success of Farrow's performance in Roman Polanski's Rosemary's Baby (1968), and Hoffman's performance in The Graduate which prompted them being hailed on the cover of the February 27, 1969, Time magazine as stars of their generation.

1970–1979: Film stardom and acclaim
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). He returned to Broadway in 1974, directing All Over Town. 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 the age of 40, and was known 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.

However, notes author Paul Gardner, "directing Lenny, his most ambitious project, exhausted Fosse emotionally and physically. It turned his life inside out", with shooting days often lasting 10 to 12 hours: "The Lenny Bruce project, based on Julian Barry's play, had gone through two studios and three scripts, and was a problem child, like Lenny himself. But Fosse wanted to do it, and he wanted Dustin Hoffman". Hoffman initially turned the part down, saying: "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. In the same interview with Playboy he recounted: "I began to feel an affinity with him, a realization that there was a lot of Lenny Bruce in me. My wife felt it too ... I realized that I'd have to make use of my own spontaneity because he was so spontaneous. And I admired his guts ... That intimacy is what an actor tries to get ... It occurred to me that if I had known him, I would have wanted us to be friends ... and he was a provocateur, and I love to provoke." Movie critic Judith Crist gave Hoffman credit for the ultimate success of the film:

"What is important is that Bruce's routines are so artfully reconstructed, the juice of his creativity so carefully strained, that the claim to genius is justified. And for that Dustin Hoffman deserves full credit, vanishing into the Bruce persona to simply stunning effectiveness,… Hoffman captures the restlessness, the velocity of a man's mouth straining to keep pace with a jet-propelled intelligence…"

Lenny was nominated for six Academy Awards, including Best Picture, Best Director, Best Actor, Best Actress, Best Adapted Screenplay, and Best Cinematography.

All the President's Men (1976) was made less than two years after the Watergate scandal, and starred Hoffman and Robert Redford as the real-life journalists, Carl Bernstein and Bob Woodward, respectively. Based on actual events, Hoffman and Redford play Washington Post reporters who uncover a break-in at the Watergate Hotel and end up investigating a political scandal that reaches all the way to the presidency. The film, as earlier ones, had Hoffman take on a dramatically different character than his previous one (as Lenny Bruce), although both men, Bruce and Bernstein, set their faces against abuses of institutional power, and the tendency for society to ignore such abuses. 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."

Vincent Canby of The New York Times described the film as "a spellbinding detective story". "The strength of the movie", he added, was "the virtually day-to-day record of the way Bernstein and Woodward conducted their investigations." The characters portrayed by Hoffman and Redford shared the rank of No. 27 Hero on AFI's 100 Years... 100 Heroes and Villains list, while Entertainment Weekly ranked All the President's Men as one of the 25 "Powerful Political Thrillers". Hoffman next starred in Marathon Man (1976), a film based on William Goldman's novel of the same name, opposite Laurence Olivier and Roy Scheider. Its director, John Schlesinger also directed Hoffman in Midnight Cowboy in 1969. Described as "Schlesinger's thriller", by author Gene D. Phillips, Hoffman plays the hero, Babe Levy, a part-time long-distance runner and graduate student, who suddenly finds himself being pursued by a fugitive Nazi. To put himself in the mindset of someone under severe emotional distress, Hoffman did not sleep for days at a time and let his body become disheveled and unhealthy. Olivier was alarmed when Hoffman turned up on set for the dental torture scene. Hoffman explained what he had done, and Olivier replied: "Dear boy! Next time try acting. It's much easier."

Goldman describes his inspiration for the novel: "What if someone close to you was something totally different from what you thought? In the story, Hoffman thinks his brother (Roy Scheider) is a businessman where the reality is that the man is a spy, who has been involved with the Nazi, Szell." However, Hoffman remembers a serious disagreement he had with Goldman, who also wrote the screenplay, about how the story ends:

"I was called on, as the character, to fire point-blank at the Laurence Olivier character, Dr. Szell, and kill him in that last scene. And I said that I couldn't do it. Goldman was quite upset about it, because first of all, how dare I? He wrote the book. 'Your job isn't to rewrite — your job is to play it as written.' ... it got nasty. I said, 'Go hire someone else.' I remember Goldman saying: 'Why can't you do this? Are you such a Jew?' I said, 'No, but I won't play a Jew who cold-bloodedly kills another human being.' ... And that's important to me, that I didn't shoot him in the end. Being a Jew is not losing your humanity and not losing your soul."

Hoffman's next roles were also 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, focussing on the missing eleven days of the author's life. The part of Archie Christie was played by Timothy Dalton, then partner of Vanessa Redgrave, and later to star in James Bond movies. Dalton's depiction of cold indifference to his wife produced a perfect foil to Hoffman's portrayal of warm compassion, humor and sensitivity. The film had both romantic and comic moments whilst the overall plot cleverly mirrored one of Christie's detective novels. Agatha was generally very well received by critics, especially in the UK, and maintains an 82% rating on Rotten Tomatoes.

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), Best Director, and Best Adapted Screenplay. The film required Hoffman to change his attitude, from being a "desensitized advertising art director" into becoming a "responsive and concerned daddy" after his wife (Streep) walks out on him and their six-year-old son, Billy. Hoffman, during the making of the movie, was also going through his own divorce after a ten-year first marriage. Hoffman has said, "Giving myself permission not only to be present but to be a father was a kind of epiphany for me at that time, that I could get to through my work. ... I got closer to being a father by playing a father. That's very painful to say." The role also reminded him of his own love of children in general saying, "Children are more interesting than anything. I walk my younger child to school every day and I don't like leaving the school. I would like to sit down on those little chairs, at those little tables, and play. And a child's love is like a drug. To have a child throw his arms about you—it's instant stoned. People talk about the rush heroin gives you: I would say children give you that rush".

Benton's directing has been praised by Hoffman, who credits him for inspiring the emotional level supporting many scenes: "Perfect directors make you emotional. On Kramer vs. Kramer, Robert Benton made me emotional. He was pulling so hard for me. When I didn't think I could do a scene again I'd say, "I can't give it to you, I haven't got it." Then he'd just get this look on his face and roll the camera and I'd say, "Okay, this is yours." That's what he made you want to do for him—to give him one."

1980–1989: Career expansion
In Tootsie (1982), Hoffman portrays Michael Dorsey, a struggling actor who finds himself dressing up as a woman to land a role on a soap opera. His co-star was Jessica Lange. Tootsie earned ten Academy Award nominations, including Hoffman's fifth nomination. Under direction by Sydney Pollack, Hoffman's role demanded "a steady bombardment of opposites—edgy then funny, romantic then realistic, soft then quivering." To film critic David Denby, Hoffman's character "embodies vulnerability and drive in perfect proportion. He has the knack of making everything he does seem perilous, and so audiences feel protective of him and root for him." Hoffman's acting was made more difficult than necessary, however, as he was not given the rehearsal time Pollack 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".

Fellow actor Gary Oldman reported that, during a telephone conversation with Hoffman, the latter recalled having made comments toward a "very powerful" industry figure who ensured that he was unable to find work in Hollywood for some time following Tootsie. In 1983, Hoffman became a Major Donor for The Mirror Theater Ltd, alongside Paul Newman and Al Pacino, matching a grant from Laurance Rockefeller. The men were inspired to invest by their connection with Lee Strasberg, as Lee's then daughter-in-law Sabra Jones was the Founder and Producing Artistic Director of The Mirror. In 1983, Hoffman signed on to star in The Yellow Jersey, which was to be a bicycle-racing drama set during the Tour de France. Hoffman was passionate about the project, considering several directors, firstly Michael Cimino whom he later fired due to the director's uncompromising way of working. The film's producers, however, failed to find a suitable replacement, so the film was not made.

In 1984, Hoffman starred as Willy Loman in the Broadway revival of Arthur Miller's play Death of a Salesman. He reprised his role in a TV movie of the same name, for which he won the 1985 Emmy Award for Outstanding Lead Actor along with a Golden Globe. Hoffman first read the play at the age of 16, but today considers the story much like his own: "It was a blueprint of my family. I was the loser, the flunky, and my brother, a high-school varsity football player, was Biff." Author Marie Brenner notes that Hoffman "has been obsessed with the play" throughout his career: "For years he has wanted to be Willy Loman; when he discovered that Arthur Miller was his neighbor in Connecticut, they began to talk about it in earnest." For Hoffman, the story also left a deep emotional impact from the time he first read it, "I read that play, and I was just destroyed by it. It was like finding out something terrible about my family. I just shook. I felt like my family's privacy had been invaded. I couldn't even talk about it for weeks". Hoffman rehearsed for three weeks with the play's original star, Lee J. Cobb, and remembers seeing his stage performance: "I'll never forget that period in my life. It was so vivid, so intense, watching Lee J. Cobb and his sixteen-inch guns as Willy. God, how I think about what I saw on that stage!" Brenner adds that Hoffman "has been training like a boxer for the role that so exhausted Cobb he had to be replaced after four months." The original play was directed by Elia Kazan, who Hoffman considers "the perfect director, the best there ever was. ... God, I would have done anything to have worked with Kazan."

Hoffman's worst film failure was Elaine May's Ishtar (1987), co-starring Warren Beatty, who also produced it. Hoffman and Beatty play two down-and-out singer-songwriters who travel to Morocco for a nightclub gig and get caught up in foreign intrigue. Much of the movie was filmed in Africa. The film faced severe production problems, mostly related to its $55 million cost, and received overwhelmingly negative reviews. However, Hoffman and Beatty liked the film's final cut and tried to defend it. Hoffman and Beatty were unaffected by the flop, and Ishtar became a cult film. Quentin Tarantino, for one, has called it one of his favorite movies, partly due to the humorous lyrics of the songs written by Paul Williams. Hoffman describes why he loves the film:

Next came director Barry Levinson's Rain Man (1988), where Hoffman starred as an autistic savant, opposite Tom Cruise. Levinson, Hoffman and Cruise worked for two years on the film, and Hoffman's performance gained him his second Academy Award. Behind Hoffman's motivation for doing the film, he has said, "Deep inside, Rain Man is about how autistic we all are." In preparation for the part, Hoffman spent two years befriending autistic people, which included taking them bowling and to fast food restaurants. "It fed my obsession", he has stated. Hoffman worked at the New York Psychiatric Institute, affiliated with Columbia University, when he was 21. "It was a great experience for me", he said. "All my life I had wanted to get inside a prison or a mental hospital. ... I wanted to get inside where behavior, human behavior, was so exposed. All the things the rest of us were feeling and stopping up were coming out of these people." He used that experience to help him develop the character of Raymond Babbitt, a high-functioning autistic savant, yet a person who critic David Denby described as "a strangely shuttered genius". Hoffman created certain character traits for Raymond. Denby noted: "Hoffman, looking suddenly older and smaller, has developed a small shuffling walk for Raymond, with shoulder bent. His eyes don't make contact with anyone else's, and he flattens his voice to a dry nasal bark."

Rain Man won four Academy Awards, including Best Picture, Best Actor for Hoffman, and Best Director for Barry Levinson. Having worked closely with Hoffman for two years on filming, Levinson offered some opinions about his skill as an actor:

"You can't define Dustin Hoffman, because he's unique. He's one of a kind and he's not one character. There is no Dustin Hoffman. He is many, many people. ... He can do comedy and he can do drama. He has an enormous range, and yet he's still Dustin somewhere in there. He's intelligent and has a great sense of how to connect with people, because he's very interesting. On a day-to-day basis, he's like an actor who's making his first movie, with the enthusiasm and energy to want to make things happen and try things and experiment."

After Rain Man, Hoffman appeared with Sean Connery and Matthew Broderick in Family Business (1989), directed by Sidney Lumet. The story centers on the estrangement between Vito (Hoffman), a middle-aged man trying to succeed in a legitimate business, and his "hopelessly corrupt but charming father", Jesse (Connery). Critics were mostly not impressed with the story, although the individual performances were praised, especially Connery's.

Because of their different acting styles and nationalities, some industry writers thought Connery and Hoffman might not work well together as close family members. "To the surprise of many", note Connery biographers Lee Pfeiffer and Lisa Philip, "the two superstars developed an immediate rapport and chemistry that translates onto the screen." And Lumet remembered: "Sean is extremely disciplined and Dustin is very improvisational, all over the place with his lines. I didn't know where it would end up, but Sean met Dustin improvisation for improvisation, and a great deal of richness and humor came out of it."

1990–1999: Established actor
In 1991, Hoffman voiced substitute teacher Mr. Bergstrom in The Simpsons episode "Lisa's Substitute". He was credited under the pseudonym Sam Etic, a play on "Semitic". 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, serving as a Colonel in the U.S. Army Medical Corps., working at the United States Army Medical Research Institute of Infectious Diseases (USAMRIID), 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. It was one of the films that was produced by his production banner, Punch Productions. The movie is described by critic Roger Ebert as "one of the great scare stories of our time, the notion that deep in the uncharted rain forests, deadly diseases are lurking, and if they ever escape their jungle homes and enter the human bloodstream, there will be a new plague the likes of which we have never seen." Critic David Denby credits Hoffman with giving the movie much of its thriller-like quality: "Tanks and men pour in to herd the terrified population here and there, and Dustin Hoffman, as the supersleuth Army doctor, gives such a lip-biting, anguished performance he absolves the movie of slickness. Hoffman isn't good, exactly; he's tense, edgy, and righteous, like a B-movie actor from the fifties."

Following that, he appeared in the 1996 revenge drama/legal thriller Sleepers (1996) with Robert De Niro, Brad Pitt, Jason Patric, and Kevin Bacon. In the mid-1990s, Hoffman starred in—and was deeply involved in the production of—David Mamet's American Buffalo (also 1996), and an early effort of film editor Kate Sanford. In 1997, Hoffman starred opposite John Travolta in the Costa Gavras film Mad City. Hoffman gained his seventh Academy Award nomination for his performance in Wag The Dog (1997), in a role that allowed Hoffman the chance to work with both Robert De Niro and Denis Leary. The movie is a black comedy film produced and directed by Barry Levinson, who also directed Hoffman in Rain Man in 1988. The story takes place a few days before a presidential election, where a Washington, D.C. spin doctor (De Niro) distracts the electorate from a sex scandal by hiring a Hollywood film producer (Hoffman) to construct a fake war with Albania. Hoffman, as a caricature of real life producer Robert Evans, according to some, "gives the kind of wonderfully funny performance that is liable to win prizes, especially since its mixture of affection and murderous parody is so precise. Stanley (Hoffman) conducts business meetings in tennis clothes or in robe and slippers", notes critic Janet Maslin.

He next appeared in another Barry Levinson film, the science fiction psychological thriller, Sphere (1998), opposite Sharon Stone. In 1999, Hoffman received the AFI Life Achievement Award and recalls the emotional impact that receiving the award had on him, "There was this reel of pictures, me playing all these different roles. I had my first—and only, thank God—panic attack. What followed was depression. ... It had to do with a central core in me, which was that I never felt I deserved success". 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. In 2001, his Punch Productions company went to a first look deal with The Walt Disney Studios.

Seven years after his nomination for Wag the Dog, Hoffman got another opportunity to perform again with Robert De Niro, co-starring with 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). In 2007, he was featured in an advertising campaign for Australian telecommunications company Telstra's Next G network, appeared in the 50 Cent video "Follow My Lead" as a psychiatrist, and played the title character in the British family film Mr. Magorium's Wonder Emporium for which he was nominated for a BIFA Award for Best Performance by an Actor in a British Independent Film at the British Independent Film Awards 2007. In 2008, although he was reluctant to perform in an animated feature film (despite previously performing voices in a version of The Point! and in an episode of The Simpsons), Hoffman had a prominent role as Shifu in the 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 his performance 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."

2010–present
He appears in Little Fockers, the critically panned yet financially successful 2010 sequel to Meet the Fockers. However, his character plays a significantly smaller role than in the previous installment. In 2011, Hoffman reprised his role as Master Shifu in the commercially and critically successful animated film Kung Fu Panda 2. On the review aggregator site Rotten Tomatoes, the film has an approval rating of 81% based on 169 reviews, and an average rating of 6.9/10. The site's critical consensus reads, "The storyline arc may seem a tad familiar to fans of the original, but Kung Fu Panda 2 offers enough action, comedy, and visual sparkle to compensate." On another aggregator site, Metacritic, the film has a weighted average score of 67 out of 100 based on 31 critics. The film was a financial success making more money than the previous film, Kung Fu Panda. The film made $666 million at the worldwide box office. The film was also nominated for the Academy Award for Best Animated Feature. In 2012, Hoffman's audiobook recording of Jerzy Kosinski's Being There was released at Audible.com. Hoffman starred in the HBO horse racing drama Luck, as a man involved in bookmaking and casino operations. Luck was canceled in March 2012 after three horses died on set.

In 2012, Hoffman made his directorial debut with Quartet, starring Maggie Smith, Tom Courtenay, Pauline Collins, Billy Connolly, and Michael Gambon. The BBC comedy-drama premiered at the 2012 Toronto Film Festival where it earned respectable reviews from critics. The film has an 80% rating on Rotten Tomatoes, with the critical consensus reading, "It's sweet, gentle, and predictable to a fault, but Dustin Hoffman's affectionate direction and the talented cast's amiable charm make Quartet too difficult to resist." Smith was nominated for Golden Globe for her performance. In 2015, Hoffman starred in Roald Dahl's Esio Trot, a BBC television film adaptation of Roald Dahl's classic novel, adapted by Richard Curtis and co-starring Judi Dench. Hoffman received an Emmy Award for Best Performance by an Actor. In 2016, he once again lent his voice to Master Shifu in the animated feature Kung Fu Panda 3.

In 2017, Hoffman starred in Noah Baumbach's Netflix film The Meyerowitz Stories alongside Adam Sandler, Ben Stiller, Elizabeth Marvel and Emma Thompson. The film premiered at the Cannes Film Festival on May 21, 2017, where it received a four-minute standing ovation. The film received a 97% on Rotten Tomatoes, with the consensus reading, "The Meyerowitz Stories (New and Selected) observes the family dynamic through writer-director Noah Baumbach's bittersweet lens and the impressive efforts of a remarkable cast". In 2017, Hoffman was honored with the Gotham Awards Tribute alongside Sofia Coppola, Nicole Kidman, Edward Lachman. Hoffman was introduced by Elizabeth Marvel.

In 2020, it was announced that Hoffman would make his return to the Broadway stage in Scott Rudin's revival of Our Town as the Stage Manager. Hoffman's last appearance on stage was 30 years prior in The Merchant of Venice in 1989. Due to the COVID-19 pandemic, Broadway theaters remained shut until 2021. Hoffman appeared alongside Candice Bergen, Dianna Agron and Simon Helberg in As They Made Us directed by Mayim Bialik. He also starred alongside Sissy Spacek and his son Jake Hoffman in Darren Le Gallo's directorial film debut Sam & Kate which began filming in February 2022. In September 2021, he was attached to feature comedy film Mr. Shaw Goes To Hollywood as MGM studio head, Louis B Mayer. Filming would tentatively commence fall 2021.

In October 2022, Hoffman was cast in Francis Ford Coppola's latest film, a dystopian science fiction epic Megalopolis. The film reunited Hoffman with his Midnight Cowboy costar Jon Voight. The film premiered at the 2024 Cannes Film Festival. Hoffman is attached to Peter Greenaway's upcoming film Lucca Mortis, which has started filming in the Tuscan city of Lucca. Most recently, he has reprised his role as Master Shifu in Kung Fu Panda 4 (2024).

Acting credits and accolades
In 1999, Hoffman was honored by the American Film Institute, who celebrated him with the 27th Life Achievement Award. Those who praised him and celebrated his work included Edward Norton, Jon Voight, Goldie Hawn, Cuba Gooding Jr., and Kathy Bates. Jack Nicholson presented Hoffman with the award. Upon receiving the award he quoted the poet Emily Dickinson, "Not knowing when the dawn will come, I open the door".

In 2009, Hoffman received an Honorary Cesar Medal at the César Awards. In 2012, Dustin Hoffman received Kennedy Center Honors, 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". Those who honored him at the ceremony included Robert De Niro, Liev Schreiber, Naomi Watts, and Billy Connolly.

In 2017, the Gotham Awards announced that they would recognize Hoffman for his lifetime achievement in film. The director of the Independent Filmmaker Project (IFP) and Made in NY Media Center stated, "We are thrilled to present Dustin Hoffman with the Actor Tribute. Starting with his breakthrough role in the timeless classic The Graduate to his highly praised turn in his upcoming film, The Meyerowitz Stories, Dustin's wide range of roles – often portraying antiheroes or the marginalized – and the creative choices he has embodied in these complex characters, has firmly placed him amongst the most compelling actors to have graced the screen."

Actress Elizabeth Marvel introduced Hoffman where she talked about the influence he's had over her career and stated, "His work is never anything less than extraordinary".

Marriage and relationships

Hoffman said that, when they were young and single, he and fellow actor and close friend Robert Duvall were "obsessed with sex". Hoffman related, "As acting students, there were always a few models. One comes up to you and says, ‘Hi,’ like you've never looked at her, while for six months you've been imagining her in bed with you. And she says, ‘I'd like to do a scene with you,’ and, whoa, she picks a love scene, and you're rehearsing and it's ‘Yes!’ That happened to me and to Bobby. Much as we were adherents to our craft, we looked for classes with women."

After meeting in 1963, Hoffman married Anne Byrne in May 1969. He 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 at the time by members of the Weathermen, when a bomb was accidentally detonated in the townhouse's basement, killing three. In the 2002 documentary The Weather Underground, Hoffman can be seen standing in the street during the aftermath of the explosion. The couple divorced in 1980.

After Hoffman's separation, he began seeing Lisa Gottsegen, their families having had a relationship together growing up. She was finishing her Juris Doctor degree, and the couple married 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 "Ali" (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.

Political activism
A liberal, Hoffman has long supported the Democratic Party and Ralph Nader. In 1997 he was one of a number of Hollywood stars and executives to sign an open letter to the German chancellor Helmut Kohl protesting against the treatment of Scientologists in Germany, which was published as a newspaper advertisement in the International Herald Tribune.

Cancer treatment
Hoffman was successfully treated for cancer in 2013.

Sexual misconduct allegations
In 2017, seven women accused Hoffman of sexual misconduct or assault. Anna Graham Hunter alleged that, while she was 17 and working as an intern on a TV production of Death of a Salesman, Hoffman made inappropriate jokes and comments around her and asked her to give him foot massages. Hoffman released an apology to Hunter who alleged harassment but denied wrongdoing, saying, "I have the utmost respect for women and feel terrible that anything I might have done could have put her in an uncomfortable situation", continuing, "I am sorry. It is not reflective of who I am." Online magazine Slate reported in 2017 that Meryl Streep had differences with Hoffman which include him slapping her in a scene, and him groping her breast. However, a representative for Meryl Streep responded to Slate saying it was not an accurate rendering of their 1979 meeting. Streep's representative stated "there was an offense and it is something for which Dustin apologized. And Meryl accepted that."

In December 2017, comedian John Oliver unexpectedly questioned Hoffman about the allegations during the 20th anniversary screening of Wag the Dog at the 92nd Street Y. "It's 'not reflective of who I am' – it's that kind of response to this stuff that pisses me off," Oliver said. "Do you understand how that feels like a dismissal?" Hoffman said he felt blindsided by the line of questioning, remarking "You've made the case better than anyone else can. I'm guilty. Because someone has alleged something, I'm guilty. You push a button. It's all over the world: I'm a predator. I'm this and that, and it's not true." Hoffman has not publicly responded to the other six allegations.

Bill Murray, who costarred with Hoffman in Tootsie (1982) and The Lost City (2005), defended him, saying, "I heard what happened to him, and Dustin Hoffman is a really decent person. He's crazy, a Borscht Belt flirt, has been his whole life. (But) he's a really sweet man." Actors Chevy Chase and Liam Neeson also came to his defense.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Dustin Hoffman


text:
Janez Strnad

Janez Strnad (March 4, 1934 – November 28, 2015) was a Slovene physicist and popularizer of natural science.

Life and work
Strnad was born in Ljubljana, Kingdom of Yugoslavia (now Slovenia).

He received a degree at the University of Ljubljana in technical physics in 1957, and got his Ph.D. in 1963. His main research work was carried out at the Jožef Stefan Institute. He taught for many years beginning in 1961 at the University of Ljubljana, Faculty for natural science and technology on the Department of physics introductory courses and topics from physics. In 1974 he became a full professor. In 1990 he wrote a book about fundamental particles physics entitled Iz take so snovi kot sanje (We are such stuff as dreams are made of). With his short and long articles he had deepened the knowledge about Stefan's scientific work. His thick booklet in the series of monographs, Zbirka Sigma (the Sigma Collection), entitled Kvantna fizika (Quantum Physics), (DZS, Ljubljana 1974) contains a definition and introduction to the understanding of Heisenberg's uncertainty principle for the graduate beginner. He wrote over 1000 works.

Strnad's works also includes topics of physics which are not exactly related at first glance to it, for instance as in this his article Znanost in politika v vinjetah (Science and politics in vignettes)].

University textbooks

 * 1) Janez Strnad, Atlas klasične in moderne fizike (Atlas of classical and modern physics), translation and adaptation of Hans Breuer, dtv-Atlas zur Physik, (Deutscher Taschenbuch Verlag, München 1987, 1988), DZS, Ljubljana 1993, pp 400,.
 * 2) Janez Strnad, Fizika, 1. del, Mehanika, Toplota (Physics, 1st part, Mechanics, Heat), (DZS, Ljubljana 1977, pp 1 – 284.
 * 3) Janez Strnad, Fizika, 2. del, Elektrika, Optika (Physics, 2nd part, Electricity, Optics), (DZS, Ljubljana 1978, pp 285 – 564).
 * 4) Janez Strnad, Fizika, 3. del, Posebna teorija relativnosti, Atomi (Physics, 3rd part, Special Theory of relativity, Atoms), (DZS, Ljubljana 1980, pp 320).
 * 5) Janez Strnad, Fizika, 4. del, Molekule, kristali, jedra, delci (Physics, 4th part, Molecules, Crystals, Nuclei, Particles), (DZS, Ljubljana 1982, pp 283).
 * 6) Janez Strnad, Mladen Gros, Marjan Hribar, Alojz Kodre, Naloge iz fizike (Exercises from Physics), (DMFA SRS, Ljubljana 1981, pp 108).

Selected chapters from physics and postgraduate seminars

 * 1) Janez Strnad, Fazna, skupinska, signalna hitrost (Phase, Group, Signal Velocity), (DMFA SRS, Ljubljana 1975, pp 31).
 * 2) Janez Strnad, Poskusi v posebni in splošni teoriji relativnosti (Experiments in Special and General Theory of Relativity), (DMFA SRS, Ljubljana 1977, pp 44).
 * 3) Janez Strnad, Na pot v kvantno elektrodinamiko (On the way to the Quantum Electrodynamics), (DMFA SRS, Ljubljana 1986, pp 176).
 * 4) Janez Strnad, Na pot k Schwarzschildu (On the way to Schwarzschild), (DMFA S, Ljubljana 1991, pp 52).
 * 5) Janez Strnad, Homogeno gravitacijsko polje: med posebno in splošno teorijo relativnosti (Homogeneous Gravitational Field: Between Special and General Theory of relativity), (DMFA S, Ljubljana 1994, pp 44).
 * 6) Janez Strnad, Začetki kvantne statistične mehanike (The Beginnings of Quantum Statistical Mechanics), (DMFA S, Ljubljana 1997, pp 31).
 * 7) Janez Strnad, Odkritje razcepa (Discovery of the split), (DMFA S, Ljubljana 2000, pp 39).

Books

 * 1) Janez Strnad, Jožef Stefan, Ob stopetdesetletnici rojstva (Jožef Stefan, By his 150th anniversary of birth), (DMFA SRS, Ljubljana 1985).
 * 2) Janez Strnad, Prapok Prasnov požene v dir (Primordial Bang drives Primordial Substance into a Gallop), (DZS, Ljubljana 1988, pp 81).
 * 3) Janez Strnad, Zgodbe iz fizike (Stories from Physics), (Slovenska matica, Ljubljana 1990).
 * 4) Janez Strnad, Fiziki 1 (Physicists 1), (Mihelač in Nešović, Ljubljana 1995, pp 159).
 * 5) Janez Strnad, Razvoj fizike (The Development of Physics), (DZS Ljubljana 1996, pp 400).
 * 6) Janez Strnad, Fiziki 2 (Physicists 2), (Modrijan, Ljubljana 1999, pp 199).
 * 7) Janez Strnad, Fiziki 3 (Physicists 3), (Modrijan, Ljubljana 2000, pp 227).
 * 8) Janez Strnad, Svet merjenj: o razvoju fizike in merjenju osnovnih fizikalnih količin (The World of Measurements: About the Development of Physics and Measuring of Fundamental Physical Quantities), (DZS, Ljubljana 2001, pp 139).
 * 9) Janez Strnad, Sto let fizike: od 1900 do 2000 (A Hundred Years of Physics: from 1900 to 2000), (DMFA S, Ljubljana 2001, pp 233).

Scientific articles

 * 1) Janez Strnad, Sto let Stefanovega zakona (Hundred years of Stefan's law), (Obzornik mat, fiz. 26 (1979) 3).
 * 2) Janez Strnad, A. Vengar, Stefanova meritev toplotne prevodnosti zraka (Stefan's measurements of the thermal conductivity of air), (European Journal of Physics, 1984).
 * 3) Janez Strnad, Kako je Jožef Stefan odkril zakon o sevanju (How Jožef Stefan discovered the law of radiation), (Zbornik za zgodovino naravoslovja in tehnike 8, Ljubljana 1985).
 * 4) Janez Strnad, Stefanov tok (Stefan's current), (Obzornik mat, fiz. 32 (1985).
 * 5) Janez Strnad, Stefanova naloga (Stefan's task), (Obzornik mat, fiz. 34 (1987).
 * 6) Janez Strnad, Stefanove elektodinamične enačbe (Stefan's equations of electrodynamics), (European Journal of Physics, 1989).
 * 7) Janez Strnad, Ernst Mach kot fizik (Ernst Mach as physicist), (Zbornik za zgodovino naravoslovja in tehnike 10, Ljubljana 1989).
 * 8) Janez Strnad, Dvigajoči se mehurčki (Rising bubbles), (Obzornik mat, fiz. 39 (1992) 4, pp 85 – 89).
 * 9) Janez Strnad, Oslabitev Brownovega gibanja (Squeezing Brownian motion), (Obzornik mat, fiz. 39 (1992) 2, pp 49 – 54).
 * 10) Janez Strnad, Opazovanje in teorija (Observation and theory), (Obzornik mat, fiz. 39 (1992) 5, pp 141 – 150).
 * 11) Janez Strnad, J. Stefana 'Longitudinalna nihanja palic'  (J. Stefan's 'Longitudinal oscillations of rods' ), (Obzornik mat, fiz. 40 (1993) 1, pp 17 – 19).
 * 12) Janez Strnad, Ali mora znati, kdor uči? (Should he who teaches know?), (Obzornik mat, fiz. 40 (1993) 1, pp 23 – 31).
 * 13) Janez Strnad, Superprevodnost (Superconductivity), (Obzornik mat, fiz. 40 (1993) 4, pp 110 – 120).
 * 14) Janez Strnad, Nenavadni interferenčni poskusi I. Interferenčni poskus s sevanjema v nasprotnih smereh (Unusual interference experiments I. Interference experiment with radiations in opposite directions), (Obzornik mat, fiz. 40 (1993) 5, pp 135 – 136).
 * 15) Janez Strnad, Supertekočnost (Superfluidity), (Obzornik mat, fiz. 40 (1993) 6, pp 183 – 191).
 * 16) Janez Strnad, Fizika iz Karlsruheja: O novostih v poučevanju fizike (The Karlsruhe physics course: On new approaches in physics teaching), (Obzornik mat, fiz. 41 (1994) 4, pp 122 – 128).
 * 17) Janez Strnad, Nenavadni interferenčni poskusi I. Youngov poskus z ionoma (Unusual interference experiments I. Young's experiment with two ions), (Obzornik mat, fiz. 41 (1994) 5, pp 119 – 153).
 * 18) Janez Strnad, Nenavadni interferenčni poskusi, Interferenčni poskus z laserjema (Unusual interference experiments, Interference experiment with two lasers), (Obzornik mat, fiz. 41 (1994) 6, pp 187 – 190) (PACS 42.50.-p.)
 * 19) Janez Strnad, Premo centralno gibanje J. Vege (J. Vega's linear central motion), (Obzornik mat, fiz. 47 (2000) 1, pp 20 – 26). (PACS 01.65.+g, 45.40GJ)
 * 20) Janez Strnad, Nenavadni interferenčni poskusi, Interferenčni poskus z molekulami C60 (Unusual interference experiments, An interference experiment with C60 molecules), (Obzornik mat, fiz. 47 (2000) 2, pp 53 – 56) (PACS 33.80.-b.)
 * 21) Janez Strnad, Precesija enakonočij (The precession of equinoxes), (Obzornik mat, fiz. 47 (2000) 4, pp 120 – 125). (PACS 01.65.+g)
 * 22) Janez Strnad, Osnovne fizikalne konstante 1998 (Fundamental physical constants 1998), (Obzornik mat, fiz. 47 (2000) 5, pp 177 – 179). (PACS 06.20.Jr)
 * 23) Janez Strnad, Rubinowicz v Ljubljani (Rubinowics in Ljubljana), (Obzornik mat, fiz. 47 (2000) 6, pp 144 – 146). (PACS 01.60.+g)
 * 24) Janez Strnad, O gravitacijski konstanti (On the Newtonian gravitational constant), (Obzornik mat, fiz. 48 (2001) 1, pp 19 – 25). (PACS 04.80.-y)
 * 25) Janez Strnad, Med dvema ognjema? (Between two fires?), (Obzornik mat, fiz. 48 (2001) 1, pp 92 – 94). (PACS 06.20.Fn)
 * 26) Janez Strnad, Sevalni tlak in P. N. Lebedev (Radiation Pressure and P. N. Lebedev), (Obzornik mat, fiz. 48 (2001) 1, pp 148 – 153). (PACS 01.65.+g, 45.40GJ)
 * 27) Janez Strnad, Prožni trak kot model vesolja (The elastic ribbon as a model universe), (Obzornik mat, fiz. 49 (2002) 1, pp 21 – 27). (PACS 98.80.-k)
 * 28) Janez Strnad, Stefanova sila (Stefan's force), (Obzornik mat, fiz. 49 (2002) 2, pp 58 – 61). (PACS 01.65.+g, 47.15.-x)
 * 29) Janez Strnad, Interferenca elektronov na svetlobi (Interference of electrons on light), (Obzornik mat, fiz. 49 (2002) 5, pp 148 – 150). (PACS 33.80.-b)
 * 30) Janez Strnad, Vega o obliki Zemlje (Vega on the form of the Earth), (Obzornik mat, fiz. 50 (2003) 1, pp 27 - III). (PACS 01.65.+g, 45.40GJ)
 * 31) Janez Strnad, O elektronih v atomu (On electrons in atom), (Obzornik mat, fiz. 50 (2003) 3, pp 82 – 85). (PACS 01.40.Ej)
 * 32) Janez Strnad, Kako sem pisal učbenik za fiziko (How I wrote a physics textbook), (Obzornik mat, fiz. 50 (2003) 5, pp 157 – 160). (PACS 01.40.Gm)
 * 33) Janez Strnad, Bose-Einsteinova kondenzacija cezija (Bose-Einstein condensation of cesium), (Obzornik mat, fiz. 50 (2003) 6, pp 184 – 191). (PACS 03.75.Fi)

Popular articles

 * 1) Janez Strnad, Jožef Stefan, Ob stopetdesetletnici rojstva (Jožef Stefan, By his 150th anniversary of birth), (Presek (1985) 5).
 * 2) Janez Strnad, Stogodišnjica Stefanovega zakona (Hundred years of Stefan's law), (Dijalektika, Belgrade 1979 3–4).
 * 3) Janez Strnad, Svetlobni mlinček (Light grinder), (Presek 24 (1996/1997) 130).
 * 4) Janez Strnad, Natančnejši podatki o vesolju (More accurate data about the Universe), (Delo, Znanost/Scientia, April 7, 2003, pp 3)

Colloquiums

 * 1) Janez Strnad, Bose-Einsteinova kondenzacija alkalijskih atomov (Bose-Einstein's condensation of alkaline atoms), (FMF, IJS, Ljubljana November 5, 2001).
 * 2) Janez Strnad, Nobelova nagrada za fiziko 2000 (Nobel prize for physics 2000), (FMF, IJS, Ljubljana November 6, 2000).
 * 3) Janez Strnad, Alojz Kodre, Profesor Kuščer - In Memoriam (In memory of professor Kuščer), (FMF, IJS, Ljubljana February 2, 2000).

title: Janez Strnad


text:
User:Daniel Kahn

I'm a newbie on the wiki. Here are my WiPITs:
 * Mnemonic technique
 * WiPITs

Here is my website.

title: User:Daniel Kahn


text:
Parashurama

Parashurama (परशुराम), also referred to as Rama Jamadagnya, Rama Bhargava and Virarama, is the sixth avatar among the Dashavatara of the preserver god Vishnu in Hinduism. He is believed to be one of the Chiranjivis (Immortals), who will appear at the end of the Kali Yuga to be the guru of Vishnu's tenth and last incarnation, Kalki.

Born to Jamadagni and Renuka, the Brahmin Parashurama was foretold to appear at a time when overwhelming evil prevailed on the earth. The Kshatriya class, with weapons and power, had begun to abuse their power, take what belonged to others by force and tyrannise people. He corrected the cosmic equilibrium by destroying the Kshatriya warriors twenty-one times. He is married to Dharani, an incarnation of Lakshmi, the wife of Vishnu. He is present in the Ramayana due to the conflict with Rama (the protagonist of the Ramayana). He is mentioned in the Mahabharata as the guru of Bhisma, Drona, Rukmi and Karna.

Legend
According to Hindu mythology, Parashurama was born to the sage Jamadagni and his Kshatriya wife, Renuka. In local tradition, it is believed they lived in a hut located at Janapav. They had a celestial cow called Surabhi, which gives them all that they desire (Surabhi is the daughter of cow Kamadhenu). A king named Kartavirya Arjuna (not to be confused with Arjuna, the Pandava) learns about this cow of plenty and wants it. He asks Jamadagni to give it to him, but the sage refuses. While Parashurama is away from the hut, the king takes it by force. When Jamadagni pleads his case and seeks for the return of the cow, the king strikes him with his fist, killing him. Parashurama learns about this crime, and is upset. With his axe in his hand, he challenges the king to battle. They fight, and Parashurama defeats and kills the king, according to the Padma Purana.

"The wicked-minded one lost his valour due to his own sin. The mighty son of Reṇukā, being angry, cut off his head, as mighty Indra did the peak of a big mountain, and he who was brave and angry, killed Sahasrabāhu and all the kings with his axe in the battle. Seeing Rāma, the very fearful one, all kings on the earth, struck by fear, ran away as elephants do on seeing a lion. The angry Rāma killed the kings even though they had fled due to the resentment against his father's murder, as the angry Garuḍa killed the serpents. The valorous Rāma made the entire [world] clear of the kṣatriyas, but protected [i.e. spared] only the very great family of Ikṣvāku, due to its being the family to which his maternal grandfather was related, and due to his mother's words."

The warrior class challenges him, and he slays every single member of the class, save for those belonging to the lineages of Manu and Ikshvaku. The mighty son of Jamadagni, having rid the world of the Kshatriyas, then performs the ashvamedha sacrifice. He grants the earth with the seven islands to principal rishis belonging to the Brahmin class. Having renounced the earth and his violent deeds, he retires to the hermitage of Nara-Narayana to engage in penance. The legend likely has roots in the ancient conflict between the Brahmin varna, with knowledge duties, and the Kshatriya varna, with warrior and enforcement roles.

Confrontation with Rama
In the Ramayana, following Rama's wedding to Sita at Mithila and during their homeward journey to Ayodhya, his party comes across a number of inauspicious signs. Amid an earthquake and a dust storm, Parashurama appears before the party. After accepting the libation offered to him, Parashurama challenges Rama to combat, on the condition that the prince show his strength to the sage by placing a bow within the string of the latter's bow, Sharanga, and discharging it. Ignoring Dasharatha's plea to spare Rama this task, Parashurama relays the divine origin of the bow and the history of its ownership, appealing to Rama's skills as a warrior. Rama seizes the bow from Parashurama and strings it, an act that causes the latter to become bereft of his divine power. Humbled, Parashurama acknowledges that Rama is an incarnation of Vishnu and requests the prince to allow him to return to the mountain Mahendra so that he could practice yoga and accrue merit. After circumambulating Rama in worship, Parashurama returns to his hermitage.

Confrontation with Bhishma
In the Mahabharata, Parashurama intercedes on the princess Amba's behalf, promising to command his disciple Bhishma to do his duty and marry her after her abduction. When Parashurama arrives with his retinue at Kurukshetra, he sends a message to Bhishma to inform him of his arrival. Bhishma comes to see his guru, offering him the traditional respects. Parashurama commands Bhishma to accept Amba as his wife. Bhishma refuses, restating that he had taken a vow of celibacy. An infuriated Parashurama threatens Bhishma with death. Bhishma tries to calm the sage, but in vain, and he finally agrees to battle his guru to safeguard his Kshatriya duty. Ganga tries stopping the battle by beseeching her son as well as the great sage, but fails. The great battle lasts for 23 days, without any result. On the 24th day, when Bhishma chooses to use a deadly weapon, at the behest of the divine sage Narada and the devas, Parashurama ends the conflict and the battle is declared a draw. Parashurama narrates the events to Amba and urges her to seek Bhishma's protection. However, Amba refuses to listen to Parashurama's advice and angrily declares that she would achieve her objective by asceticism.

Parashurama in geographical myths
There are legends dealing with the origins of the western coast geographically and culturally. One such legend is the retrieval of the west coast from the sea, by Parashurama, a warrior sage. It proclaims that Parashurama, an incarnation of Mahavishnu, threw his battle axe into the sea. As a result, the land of the western coast arose, and thus was reclaimed from the waters. The place from which he threw his axe (or shot an arrow) is on Salher fort (the second highest peak and the highest fort in Maharashtra) in the Baglan taluka of Nashik district of Maharashtra. There is a temple on the summit of this fort dedicated to Parshuram and there are footprints in the rock four times the size of normal humans. This fort on a lower plateau has a temple of goddess Renuka, Parshuram's mother and also a Yagya Kunda with pits for poles to erect a shamiyana on the banks of a big water tank.

According to the Sangam classic Purananuru, the Chera king Senkuttuvan conquered the lands between Kanyakumari and the Himalayas. Lacking worthy enemies, he besieged the sea by throwing his spear into it. According to the 17th-century Malayalam work Keralolpathi, the lands of Kerala were recovered from the sea by the axe-wielding warrior sage Parashurama, the sixth incarnation of Vishnu (hence, Kerala is also called Parashurama Kshetram 'The Land of Parashurama' ). Parashurama threw his axe across the sea, and the water receded as far as it reached. According to legend, this new area of land extended from Gokarna to Kanyakumari. The land which rose from sea was filled with salt and unsuitable for habitation; so Parashurama invoked the snake king Vasuki, who spat holy poison and converted the soil into fertile lush green land. Out of respect, Vasuki and all snakes were appointed as protectors and guardians of the land. P. T. Srinivasa Iyengar has theorised that Senguttuvan may have been inspired by the Parashurama legend, which was brought by early Aryan settlers.

In present-day Goa (or Gomantak), which is a part of the Konkan, there is a temple in Canacona in South Goa district dedicated to Parashurama.

Texts
Parashurama is generally presented as the fifth son of Renuka and Rishi Jamadagni. The legends of Parashurama appear in many Hindu texts, in different versions:
 * In Chapter 6 of the Devi Bhagavata Purana, he is born from the thigh with intense light surrounding him that blinds all warriors, who then repent their evil ways and promise to lead a moral life if their eyesight is restored. The boy grants them the boon.
 * In Chapter 4 of the Vishnu Purana, Rcika prepares a meal for two women, one simple, and another with ingredients that if eaten would cause the woman to conceive a son with martial powers. The latter is accidentally eaten by Renuka, and she then gives birth to Parashurama.
 * In Chapter 2 of the Vayu Purana, he is born after his mother Renuka eats a sacrificial offering made to both Rudra (Shiva) and Vishnu, which gives him dual characteristics of Kshatriya and Brahmin.

Parashurama is described in some versions of the Mahabharata as the angry Brahmin who with his axe, killed a huge number of Kshatriya warriors because they were abusing their power. In some versions, he even kills his own mother because his father asks him to in order to test his obeisance. After Parashurama obeys his father's order to kill his mother, his father grants him a boon. Parashurama asks for the reward that his mother be brought back to life, and she is restored to life. Parashurama remains filled with sorrow after the violence, repents and expiates his sin. After his Mother comes back to life, he tries to clean the blood-stained axe but he finds a drop of blood which he was unable to clean and tries cleaning the blood drop in different rivers. This is when he moves towards the south of India in search of any holy river where he could clean his axe, finally, he reaches Tirthahalli village in Shimoga, Karnataka and tries to clean the axe and to his surprise, the axe gets cleaned in the holy river of Tunga. With respect towards the holy river, he constructs a Shiva linga and performs pooja and the temple is named as Rameshwara temple. The place where Parashurama cleaned his axe is called Ramakunda.

He plays important roles in the Mahabharata serving as mentor to Bhishma (chapter 5.178), Drona (chapter 1.121) and Karna (chapter 3.286), teaching weapon arts and helping key warriors in both sides of the war.

In the regional literature of Kerala, he is the founder of the land, the one who brought it out of the sea and settled a Hindu community there. He is also known as Rama Jamadagnya and Rama Bhargava in some Hindu texts. Parashurama retired in the Mahendra Mountains, according to chapter 2.3.47 of the Bhagavata Purana. He is the only incarnation of Vishnu who never dies, never returns to abstract Vishnu and lives in meditative retirement. Further, he is the only incarnation of Vishnu that co-exists with other Vishnu incarnations Rama and Krishna in some versions of the Ramayana and Mahabharata, respectively.

Samanta Panchaka
According to the Sangraha Parva, after killing 21 generations of Kshatriyas, he filled their blood in five pools collectively known as the Samantha Panchaka (Sanskrit: समंत पञ्चक). He later atoned for his sin by severe penance. The five pools are considered to be holy.

The Anukramanika Parva says that the Samantha Panchaka is located somewhere around Kurukshetra. It also mentions that the Pandavas performed a few religious rites near the Samantha Panchaka before the Kurukshetra War.

Parashurama Kshetra
There is much interpretation of 'Parashurama Kshetra' (Land of Parashurama) mentioned in the Puranas.

The region on the western coast of India from Gokarna to Kanyakumari was known as Parashurama Kshetra.

The region of Konkan was also considered as Parashurama Kshetra.

The ancient Saptakonkana is a slightly larger region described in the Sahyadrikhanda which refers to it as Parashuramakshetra (Sanskrit for "The Land Of Parashurama"), Vapi to Tapi is an area of South Gujarat, India. This area is called "Parshuram Ni Bhoomi".

Iconography
The Hindu literature on iconography such as the Vishnudharmottara Purana and Rupamandana describes him as a man with matted locks, with two hands, one carrying an axe. However, the Agni Purana portrays his iconography with four hands, carrying his axe, bow, arrow and sword. The Bhagavata Purana describes his icon as one with four hands, carrying his axe, bow, arrows and a shield like a warrior. Though a warrior, his representation inside Hindu temples with him in war scenes is rare (the Basohli temple is one such exception). Typically, he is shown with two hands, with an axe in his right hand either seated or standing.

Temples
The Anantheshwara Temple is a famous temple in Udupi where Parashurama is worshipped in the form of a lingam.

There is a temple for Parashurama in Thiruvallam near Thiruvananthapuram Kerala. The temple called Athyarala in Rajempet, Andhra Pradesh, is dedicated to Parashurama. There is a Parshuram Kund, a Hindu pilgrimage centre in Lohit District of Arunachal Pradesh which is dedicated to Parashurama. Thousands of pilgrims visit the place in winter every year, especially on the Makar Sankranti day for a holy dip in the sacred kund which is believed to wash away one's sins. Mahurgad is one of the Shakti Pitha shrines in Maharashtra's Nanded District, where a famous temple of goddess Renuka exists. This temple at Mahurgad is always full of pilgrims. People also come to visit Parashurama temple on the same Mahurgad. The 108 Shiva Temples in Kerala which are believed to be consecrated by Parashurama.

Other places where temples for Parashurama are found are Chiplun in Ratnagiri District, Maharashtra and at Udupi, Karnataka. In Karnataka, there are a group of seven temples in the stretch of Tulunadu (coastal Karnataka), known as Parashurama Kshetras, namely, Kollur, Koteshwara, Kukke Subrahmanya, Udupi, Gokarna, Anegudde (Kumbhasi) and Shankaranarayana.

In popular culture
On top of the hills of Janapav is a Shiva temple where Parashurama is believed to have worshipped Shiva, the ashram is known as Jamadagni Ashram, named after his father. The place also has a Kund (Pond) that is being developed by the state government.

In Kannada folklore, especially in devotional songs sung by the Devdasis he is often referred to as a son of Yellamma. Parashurama legends are notable for their discussion of violence, the cycles of retaliations, the impulse of krodha (anger), the inappropriateness of krodha, and repentance.

title: Parashurama