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On Golden Pond
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Directed by Mark Rydell.
There's little that happens in On Golden Pond that isn't thoroughly predictable from the start, but the film is blessed with so much star power, charm and honest sentiment that everyone in the audience is willing to ignore the cliches and go the distance. In his last film, Henry Fonda plays Norman Thayer, a cranky 80-year-old retired professor, making his annual pilgrimage with his wife Katharine Hepburn (in her only teaming with Henry Fonda) to their New England summer cottage. Their solitude is interrupted when the couple's daughter Chelsea (Jane Fonda) arrives with her fiance Bill (Dabney Coleman) and his son Doug McKeon in tow. It takes a while, but Jane Fonda and Coleman, about to go on a vacation of their own, persuade Henry Fonda and Hepburn to take care of McKeon. Henry Fonda and the kid dislike each other from Square One, and it looks as though this summer (which may very well be Henry Fonda's last) will be a depressing experience. Gradually, Henry Fonda and McKeon grow to love one another; their bond is strengthened during a near-fatal accident while fishing. It is through the warm relationship between Henry Fonda and the boy that the old man and his daughter Jane Fonda are at last able to display affection towards each other--the first time they've done so in years. Gorgeously photographed by Billy Williams, On Golden Pond is a wonderful valedictory for Henry Fonda, who died not long after the film's completion; Katharine Hepburn has less to do, but few can do so much with so little. Academy Awards were bestowed upon Henry Fonda, Hepburn, and screenwriter Ernest Thompson (who adapted the film from his stage play). ~ Hal Erickson, All Movie Guide
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unclefesteringunclefestering You are so good you made the Ma ...
by unclefestering in unclefestering Blog
hasn't rated it.
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"Barbarella often get knocked for being a bad movie as if it was supposed to be taken seriously. The movie is a campy, sci-fi, sex romp that takes equal shots at the conventions of both the 60s Sci-Fi and sex romp films. Don’t take it seriously. You probably shouldn’t watch it sober, but it is worth watching for the wide-eyed innocent wantonness that Jane Fonda manages to project in the lead role. Now first off, I’ve never really been a fan of Jane Fonda’s acting ability. She single-handedly wrecks On Golden Pond, and is shrill and unfunny in Monster-in-Law. Fonda’s limited acting abilities actually work for her in this movie. Her then soon to be ex-husband, Roger Vadim, didn’t ask for her to do deep method acting, but used her stilted line delivery to his advantage. He also uses the hammy performances of the other actors to the movies advantage. Barbarella walks a very fine balance of camp and crap and slips on each side at points along the way, ... " [More]
JakeStevensJakeStevens Somewhat Badly Acted, But...
by JakeStevens in JakeStevens Blog
liked it.
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"...for some reason, I love it. I remember seeing it as a young child and not "getting it", but over the years, I never forgot it. When I saw at a pawn shop, I bought it, and fell in love with it. It's not acted very well by ANYONE, but the characters are so endearing, and the script so well written, it's hard not to like them, or at least sympathize with them. Maybe because it's Henry Fonda's last film role, but I think he's the best thing about this movie - he plays Norman Thayer with such honesty that you feel you KNOW this man from the inside out. A good film. " [More]
Review by All Movie Guide
All Movie Guide
liked it.
As America staggered out of its post-Vietnam Carter-era late-'70's numbness, films became one of the means to healing the country's psychic wounds. Consequently, 1981's On Golden Pond became one of a string of films anchored by the generational theme of parent-child rapprochement. One of the things that set this film apart from its contemporaries was the first-time pairing of real life father and daughter Henry and Jane Fonda. In order to evoke the requisite nostalgic tone, director Mary Rydell's film is seeped in sepia-golden hues courtesy of veteran cinematographer Billy Williams III. The film's conflict resolution process is too pat and the direction too self-congratulatory to allow it status as a classic, but there is genuine pathos plus some remarkable work done by Katharine Hepburn and Best Actor Oscar winner Henry Fonda. The elder thespians raise their roles from what could have been clichés (the doting wife, the dottering coot) into the realm of archetypes. The supporting characters fare less well, as the script sometimes short circuits their development in order to get to the next big emotional moment. Despite these complaints, On Golden Pond succeeds because of its appealingly humane plea for generational healing and the wonderful work of Hepburn and Henry Fonda. ~ Dan Jardine, All Movie Guide
 



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