HOFFMAN, DUSTIN

born August 8, 1937, Los Angeles, Calif., U.S. acclaimed American actor known for his versatile portrayals of antiheroes and vulnerable types. Short in stature and not typically handsome, he helped to usher in a new Hollywood tradition of average-looking but emotionally explosive leading men. Hoffman began acting at age 19 after dropping out of music studies at Santa Monica City College. He then moved to New York City, where he struggled for several years in odd jobs and eventually landed small parts on television and leading roles Off-Broadway, where he won an Obie Award. After appearing in one forgettable Spanish-Italian coproduction, Hoffman was cast in his second film, Mike Nichols's The Graduate (1967), beating out contemporaries Robert Redford and Charles Grodin. Hoffman was 30 years old when he played the 21-year-old Benjamin Braddock, an upper-middle-class college graduate who, in a search for a meaningful future, aimlessly drifts into an affair with a married woman who is the age of his parents. A tremendously successful social comedy, the film struck a nerve with youthful audiences disenchanted with the American establishment, and Hoffman was launched as a star. Dustin Hoffman in Midnight Cowboy (1969). In John Schlesinger's Midnight Cowboy, which won an Academy Award for best picture of 1969, Hoffman played Ratso Rizzo, a tubercular homeless man who develops a friendship with an unsuccessful male prostitute (played by Jon Voight). Grim and downbeat in its depiction of a heartless New York City, the film was another unlikely success for Hoffman. The actor moved smoothly into the 1970s playing numerous antiheroes such as the powerless witness to Native American genocide in Little Big Man (1970), the cowardly mathematician who violently defends his home in Straw Dogs (1971), the self-destructive comic Lenny Bruce in Lenny (1974), and an ex-convict who can't resist the lure of crime in Straight Time (1978). Thrice previously nominated for the Oscar, Hoffman finally won a best actor award for his sympathetic portrayal of a divorced single father in Kramer vs. Kramer (1979) and earned another nomination for Tootsie (1982), in which he played an out-of-work actor who, while masquerading as a woman, finds steady employment on a daytime soap opera. Two returns to the stage proved great triumphs for Hoffman in the 1980s. First was his much-lauded performance as Willy Loman in the 1984 Broadway revival of Arthur Miller's Death of a Salesman, which was adapted for television the following year by CBS earning Hoffman an Emmy Award and a Golden Globe Award. Always determined to select a challenging variety of roles, he next appeared on stage in London as Shylock in Sir Peter Hall's production of The Merchant of Venice (1989). For his film work, Hoffman closed out the decade with another best actor Oscar for his convincing depiction of a middle-aged autistic savant in Rain Man (1988). Not unlike Hoffman's earlier roles, Raymond Babbitt is a difficult character to embrace because of his emotionless nature, but the actor elicits just the right amount of sympathy from an audience. After a disappointing series of big-budget Hollywood projects such as Hook (1991), Billy Bathgate (1991), Hero (1992), Outbreak (1995), and Sphere (1998), the actor returned to form as a sleazy, fame-hungry Hollywood producer who coconspires to fool the entire world into believing that the United States is at war with Albania in Wag the Dog (1997), a biting political satire that gave Hoffman his seventh Academy Award nomination. In 1999 he was the grand inquisitor in French director Luc Besson's production of Messenger: The Story of Joan of Arc. Additional reading Douglas Brode, The Films of Dustin Hoffman (1988).