User Reviews

Oh,the numerous memorable characters Henry Fonda brought to the screen over the years.His most memorable came in his final film,On Golden Pond. This film brought to light two important realizations for me.Family togetherness is one of the most important things we have in life,and we had better resolve our differences as a family and get along because we can't go back and correct the things we come to regret.Secondly,I came to realize that elderly couples are more than the stereotype we sometimes force upon them.They don't cease to be affectionate and sexual merely because they have gotten older.Henry Fonda and Katharine Hepburn made a delightful couple here and make you wish they had worked together more often through the years,but unfortunately,this was their first and only film together.Also,the pairing of Fonda with real life daughter Jane was indeed a delight to see.Their own troubled relationship made them naturals for their parts as a father and daughter coming together after years of tension.You could sense that at times, Henry and Jane were not acting at all when it came to their scenes with one another,making these scenes more realistic and effective.Henry Fonda received a well deserved Oscar for this film.I watched the night he received it,and recall his reaction from his home(he was too ill to attend the ceremony),and the tears streaming down his face.I couldn't help but shed a tear or two myself.I'm sure I was not the only one.Great film.

Mark Rydell's On Golden Pond was a surprise hit in 1981, finishing third in box office grosses after Rocky III and E.T. Such an occurrence was unheard of in Hollywood, considering the key players in the film, Henry Fonda and Katharine Hepburn, each had not had a hit film in almost twenty years and were both hardly spring chickens in the business. Both these veteran actors proved they could still make it in Hollywood among young starlets, and triumph. Still, when you see "On Golden Pond," you sense that their teaming together for the first time in their careers is purely a special occasion, an opportunity of a lifetime that few actors in their seventies receive. They in turn have left us with a wonderful showcase of movie talent, a film of warmth, good humor, and love.

It always amazes me when I read that Henry Fonda had only received two Oscar nominations during his career, one of which he earned for this film. Like his good friend Jimmy Stewart, Fonda was rarely a boisterous actor. He had a natural ease to his acting, a gift for making audiences believe that every word he uttered was truth. Now, in his final screen performance as Norman Thayer Jr., Fonda had to reach deep into his own personal experience and his advancing years to create a character who struggles with his own mortality. Norman is a grouchy curmudgeon who has memory lapses and heart palpitations. He has a loving and cheerful wife, Ethel (Hepburn), but a difficult relationship with his only daughter, Chelsea (Jane Fonda). He and Ethel journey back to their cottage on the lake for what may be their last summer. Immediately, Norman comes face to face with his old age and his inability to remember what should be familiar sights. I especially like the scene where he gets lost in the woods looking for strawberries and scares himself when he is unable to find his way back. Ethel has such faith in him, sure he will "get back on that horse" and be as valiant as he once was. What more could you want from a wife?

Chelsea arrives after many years away from her parents, bringing with her a new boyfriend (Dabney Coleman) and his son, Billy (Doug McKeon). You can sense the tension between Chelsea and Norman the minute she walks in the door. This reunion is fascinating not only because we can never tell where the difficulty lies in their relationship, but also the fact that these problems also exist on and off the screen. The father-daughter relationship between Henry and Jane was also very turbulent ever since Jane began her protests in Vietnam, much to the chagrin of her father. This collaboration of the two was meant to mend fences between them. Not often do the personal lives of actors collide so eloquently in Hollywood, but here it seems just about right.

The sequence where Norman and Bill (Coleman) attempt to build a conversation is originally conceived and acted so naturally. He carefully asks Norman if it would be alright if Chelsea and he sleep together in the same room at the cottage. Of course, Norman makes this confrontation as difficult as possible, making Bill nervous and jerking him around. Ironically, Bill comes back at him, not allowing Norman to use him in petty mindgames and hoping they would become friends, which is obviously "not an easy task." This is an unsettling turn for Norman and the audience, but it is necessary for the story to progress and for Norman to respond accordingly to the other characters in the story.

Ethel and Norman volunteer to let Billy stay with them for the summer while Chelsea and Bill head off to Europe. Billy is not pleased with the arrangement at the outset, but gradually bonds with Norman through learning to fish on the pond. While Billy is not necessarily an original character, it is fascinating to see him try to understand Norman, and in turn how Norman learns to associate with the son he never had. It is a learning experience for both of them, even though they are many generations apart.

Many reviewers have remarked that ON GOLDEN POND uses a conventional story and revives it with great performances from the cast. It is interesting to note that the screenwriter, Ernest Thompson, altered his own play in order to escape a bit of the conventionality that the film medium required. The framework may seem as original as an old shoe, but the added touches in the script and its delivery give this film a certain magic that only classical Hollywood films possessed. Fonda has a great way to end a career with this role, placing himself completely within Norman's world and searching within and through the role for his own solutions to life's problems. His Oscar was given to him for more reasons than mere charity. Hepburn is delightful as Ethel, working so well with Fonda that it does not seem as if they are acting. For a couple of old Hollywood actors who never even met before this, they each prove they are true masters of their craft. Jane Fonda takes a supporting role this time, incorporating some of the same motives as her father into her part, and as a result delivers a special performance. Mark Rydell is one of those directors that often gets left off the list of the all-time greats, but proves once again here he is a masterful storyteller. In this project, he allows both the visual elements of the pond and his actors to make magic, a truly memorable combination.

On Golden Pond is not an epic, but what it accomplishes runs close to epic proportions. It is very rare that a stageplay converts so well to the screen like this one. On Golden Pond is vibrant, emotional, and so heartfelt, it is impossible not to like, unless you are a curmudgeon like Norman Thayer. It is also unique that great actors such as these will agree to try again for Hollywood glory so late in their careers. It is up to us viewers to experience this wonder before the chance is lost and these thespians finally close up the cottage and head off to their retirement.

On Golden Pond is a film that proved to me that acting is a beautiful thing when it comes from some of the veterans and the greats. I have always had the opinion that most acting from the 60's and earlier is one dimensional and flat. But then I saw this film and I realized that I was watching two of the best, from any era. Fonda and Hepburn are absolutely stunning in here and they so richly deserved to win their Oscars that year. And not only am I mad to see that Chariots of Fire beat out Raiders of the Lost Ark, but it also beat this film out as best picture, and that is a shame, and a crime.

On Golden Pond reminded me a little of my relationship with my grandfather. It's not that we didn't get along because we did, but at times it was a little strained simply because of the age difference. But Billy soon learns that Norman Thayer Jr. is not just an old man, but he is a guy that has a lot say and he can offer him so much and of course they become friends. So we all know how the movie is going to end up, but it is the execution that is the strength of the film. We watch as these two grow together. We sense that they are becoming more at ease with each other and when we finally see our two guys catch that guarantuan fish named Walter, by this time we are pretty much sure what they are going to do. And it's kind of funny to draw parallels between Walter the fish, and Norman the crusty old man. But both have been around the pond for years. Norman's life wouldn't be the same if his quest for the fish was never there. Perhaps the same with Walter, perhaps he has enjoyed alluding Norman for all these years. But now the game is up, but it doesn't have to be. Norman caught him, perhaps that's all that should matter. You can draw your own conclusions from that analogy. But I like the way it comes out.

On Golden Pond is a treasure. It is sweet, tender and honest. You will never see a performance better than the one Henry Fonda gives in this one. And this made me want to go out and rent some of the films that the two screen legends were in before and I have to admit that their early work is impressive. But it is here that they shine like never before. So my recommendation is this. If you are young and would never imagine seeing a film like this because it doesn't have someone like Sara Michelle Gellar or Arnold Schwartzenegger in it, then take the take advice of someone who had the same pre-conceived notions when I was 15. No Sly, no Spielberg? Hey forget it, not my cup of tea. But this will give you a new appreciation of film. It really is that good.

And for those of you that have seen it, remember this line? "Wife's name is Ethel Thayer, thounds like I'm lithsping dothsn't it? " What a great film.

I first saw "On Golden Pond" back in the early 80s and thought it was a very good film. Now, decades later, I decided to re-watch it and thought it was terrific! I think it's possibly because I am older and can relate a bit more to Norman!

When the story begins, Norman and Ethel Thayer (Henry Fonda and Katharine Hepburn) arrive at their summer place on the late in the New Hampshire wilderness. Both are elderly and Norman is well aware that this might be the final season he enjoys the home that's been in their family for many years. What happens next? Just see the film!

The reason to see this film is the acting....and it's certainly a story that is dependent on acting and not stunts nor action. And, both Fonda and Hepburn are terrific...both earning Oscars for their lovely performances. Additionally, while the story is simple, it's exquisitely written and is among the better films of the 1980s.

I really enjoyed "On Golden Pond". I wanted to see it, because Henry Fonda won his only Best Actor Oscar for it. Since I'm a Henry Fonda fan, I thought I should watch the movie the Academy considered his best. When I watched it, I really enjoyed it! It makes you not want to take life for granted, in any way. For Norman, he learns not to take life for granted by enjoying it. He also learns not to be so crotchety, and not to dote on death. His daughter, Chelsea, learned to forget about her differences with her father, and to love him while she can.

Katharine Hepburn also gives a brilliant, Oscar-winning performance as Ethel Thayer, Norman's devoted wife. She helps him in more ways than the audience realizes, because she tries to make him feel young, which is what he needs.

"On Golden Pond" is a wonderful movie with a combination of drama and comedy that makes for an entertaining experience. I recommend this movie to everyone!

"On Golden Pond" is simply an old-fashioned testimonial to long-lost youth and facing one's mortality, and, in its simplicity, becomes a life-affirming valentine to those who feel that time has become the enemy - a seemingly ageless, universal perception. If not for the magnificent acting duet between Henry Fonda and Katharine Hepburn, this lovely, sentient piece would have been ignored by most moviegoers. But buoyed by these two acting legends, it manages to circumnavigate the heavy, mawkish waters -- rising far above and beyond anybody's expectation. Earning a whopping ten Oscar nominations, Ernest Thompson's reflective screenplay won one of those Oscars, but, for me, it's Dave Grusin's soothing, glistening score that is the stronger selling point here, adding immeasurably to the film's ruminative tone and gently rustic surroundings.

Henry Fonda plays brusque, cantankerous Norman Thayer, a one-time college professor approaching his 80th birthday with a mixture of anger, cynicism and fear as he shows signs of losing his faculties. Norman is not a particularly kind or considerate gent. Abrupt, callous, remote, and ill-equipped to offer nurturing support of any kind, living with Norman must have been quite an ordeal for those growing up under his roof. As a means of self-preservation, their only child, Chelsea, has long estranged herself from the family, unable to emotionally come to terms with her unhappy, unhealthy relationship with her father.

Fonda offers the most affecting, endearing performance of his durable career. He manages to use Norman's undesirable traits to his advantage, investing in his character a gruff charm and cynical sense of humor that is totally winning. He melts away the harmful, negative elements, as Carroll O'Connor managed to do for Archie Bunker, and makes Norman not only funny and entertaining, but loveable. As a result, Fonda becomes the glowing centerpiece of `On Golden Pond,' and it is this portrayal, along with his `Grapes of Wrath' Tom Joad, that will remain indelibly etched in our hearts and minds for decades to come.

Kate Hepburn is his Ethel, a loving, pragmatic anchor who obviously has played an important role in the lifetime success of this complicated man. Devoted to a tee, Ethel understands and compensates for the weaknesses of her husband. She valiantly assuages his deepening fears with good-natured kidding, feigned hopelessness, and careful but subtle guidance. She is Dulcinea to his Don Quixote. As a lioness would shield an endangered cub, she has automatically assumed the roles of caregiver, protectorate and confidence booster without pause or grief. Only for Ethel does Norman step out of his shield of emotional armor and display a genuine affection that is lost to others, including himself. Hepburn absolutely radiates with warmth and vitality, providing the film with a necessary center. Though less flashy and substantive, both she and Fonda were Oscared for their work here, with Hepburn winning a record-breaking fourth 'Best Actress' award. Incidentally, this was their ONLY screen pairing, yet they work together as if they've known each other all their lives.

Fifteen-year-old Doug McKeon manages to hold his own among the star power here as a young resentful upstart whose dentist father (Dabney Coleman) is romantically involved with Chelsea. Forced to play out the rest of his summer with the old folks while his father and girlfriend spend quality time together, he learns a delicate lesson or two as he develops an unlikely bond with Norman. Coleman himself has one edgy, amusing scene as he tries to gracefully deal with an overly wry Norman.

Surprisingly, the weakest story link involves Norman's strained relationship with daughter Chelsea, played by Hank's own daughter, Jane Fonda (Oscar-nominated). The familial situation obviously parallels their own real-life lack of connection, but the scenes seem strangely shallow and self-serving as they forge through some mucky emotional moments as if striving for real-life closure. What should have been insightful and compelling comes off forced and distracting, particularly on Jane's part.

Henry Fonda's own physical frailty at the time of shooting adds a special poignancy to the film. Ironically, Hepburn won her second Oscar in 1967 for playing another wifely Rock of Gibraltar in `Guess Who's Coming to Dinner?' The ailing Spencer Tracy died shortly after the completion of that film. Fonda would pass away a few months after winning his only Oscar.

A most welcome and satisfying diversion that touches with its unpretentiousness, `On Golden Pond' is a lovely, lovely little film that should resonate for ages to come.

This is an extremely well crafted film, although I believe a little overrated from a sense of nostalgia for its beloved talented and now aging stars, Henry Fonda and Katharine Hepburn. Of course the cinematography is magnificent, with lovely country scenery and beautiful lakeside vistas, all well incorporated into the emotional aspects of the picture.

The movie brings the viewer into what is probably the last of many summers spent at their Golden Pond cottage by retired professor, Norman Thayer, an ornery old codger, and his cheerful, loving wife, Ethel. Their semi estranged 40 something daughter, Chelsea (Jane Fonda), comes to visit, in honor of her father's 80th birthday, bringing her new fiancé, Bill. The younger couple leave Bill's young teenage son, Billy, with Chelsea's parents while they jaunt off to Europe for a couple of weeks on holiday.

It's a film that is character driven, and all about relationships. For me, the most moving is that between husband and wife. Henry Fonda and Katharine Hepburn give brilliant Oscar winning performances as the aging Thayer couple, Norman and Ethel. Their relationship, the love, support, and comfortable banter, is so amazing on screen it is impossible to believe they aren't actually married in real life. Norman has become quite frail and has troubling health concerns, both physical (heart palpitations) and mental (some memory loss). Mind you, this film is all a bit depressing with Norman's anxieties about his mortality (no comforting faith mentioned here, unfortunately) and of course his aging. Ethel is jovially comforting, especially when he gets a little lost in the woods while they are out picking strawberries together. This scene is beautifully done by both spouses. He's a sympathetic but crotchety character to say the least, yet she always manages to deal with him affectionately.

Also, the relationship between Norman and the fiancé's young son... Although Billy has earlier been rather miffed at being stuck with these old folks for the summer, Norman develops quite a touching grandfatherly relationship with him, as the two go fishing together and so forth.

The only relationship that doesn't come off well here is the strained father / daughter one between Norman and Chelsea that presumably is meant to reflect the real life tensions between Henry and Jane Fonda. Frankly, Chelsea seems more like a self absorbed teenager or 20 something, trying to find herself. By age 40, she should have done so and become a genuine support to these elderly parents of hers. I really like Jane Fonda in some of her roles, but this particular character hasn't much depth and is little asset to the movie. Hopefully, at least making On Golden Pond together helped to mend any real life fences between the two Fondas.

In any case, the film examines skillfully the aging process from the very personal perspective of a loving couple going through it, and as such is a movie not to be missed.

On Golden Pond is a film that disproves the notion that the only decent roles around are written for the young. Two of Filmland's finest senior citizens get parts of a lifetime and due to the fact the daughter of one of them got them to co-star. Hard to believe, but according to both of them, Henry Fonda and Katharine Hepburn had never even met until the beginning of the making of On Golden Pond.

This is a gentle story about a couple of people facing the twilight years, the man with more health problems than the woman. Among those problems are incipient Alzheimer's Disease for Henry Fonda. He's a crotchety old cuss by nature and the prospect of just going off into some twilight disturbs him and exacerbates that portion of his personality.

Fonda and Hepburn are back at their summer home On Golden Pond for who knows what might be their last. Their daughter Jane Fonda brings them a surprise, a new fiancé in Dabney Coleman and his son from his previous marriage, Doug McKeon. Dabney and Jane are off to Europe and are depositing Doug with who will become his step grandparents.

Almost in spite of himself McKeon connects with them, especially with Fonda with Jane Fonda becoming almost jealous. Apparently way back in the day Fonda wanted a son and let her know it. The trip is almost as much about her trying to patch things up with Fonda. Both Fondas drew from the strained relationship they've had over the years in their real lives.

Despite over 45 years of work in film with many notable classic performances, Henry Fonda had only received one other Oscar nomination in 1940 for The Grapes Of Wrath. He was a sentimental favorite to win and sentiment and talent did win out. A lot of people knew he was in failing health at the time of the voting and there is that famous picture of daughter Jane presenting her father with the award at home the next day.

Not that it wasn't merited, but Katharine Hepburn winning her fourth Best Actress Oscar really came out of left field though. Maybe Meryl Streep might surpass that some day, but Kate blazed a lot of trails in her professional life, honors only being one of them.

I'm glad that the Academy voters in voting the Best Actor and Actress Awards recognized that Fonda and Hepburn were a matched pair. You could not award one without recognizing the contribution the other made. They both drew on their own experience and the considerable strength of each other to buttress their performances. Kate is as matched with Hank as she was in any of the films she did with Spencer Tracy.

What a lucky kid that Doug McKeon was to do so many scenes and get lessons as a thespian by two of the very best. On Golden Pond is beautifully photographed in the New England locations of Hepburn's youth. It's a wonderful and touching story of the elderly as they await their inevitable end with as much grace as they can muster. A classic that will linger on in your memories for years.

I was expecting a very boring movie. All I thought about this was a couple of old people sitting around talking at some cabin. I was way off. This film is quite the opposite. Things do happen that make this movie well worth watching. Henry Fonda is excellent and made me laugh really hard with his sarcastic answers to many questions. I do believe Jane Fonda was not in the film enough. Of course we can't go without mentioning Katherine Hepburn. She is one of the greats and this film has proof.

This is a film I would definitely recommend to others. It is light hearted and dramatic all at the same time. Watch this film it will entertain you.

A few things struck me while I was watching "On Golden Pond". The obvious thing was the co-starring of two generations of Fondas. I understand that Henry Fonda and Jane Fonda hadn't been on the best terms due to her political activism in the '60s, and so this movie was a sort of reconciliation for both of them.

As for the plot, the movie comes across as a "nice movie" that you can take the kids to see. Katharine Hepburn's "knight in shining armor" quote pretty much sums up the movie's feeling. I'm not saying that it's a bad movie, just a little too fluffy. It's a surprise seeing Jane Fonda and Dabney Coleman play wife and husband, since they had just played enemies in "9 to 5".

Basically, it's a watchable movie, but not any sort of masterpiece. Probably worth seeing once. So strange to think that Henry Fonda won an Academy Award for the role and died a few months later.

The loons are back again on Golden Pond and so are Norman Thayer (Henry Fonda), a retired professor, and Ethel (Kate Hepburn) who have had a summer cottage there since early in their marriage. This summer their daughter Chelsea (Jane Fonda) -- whom they have not seen for years -- feels she must be there for Norman's birthday.

This film is a poor excuse for a multiple-Oscar winner. The 1980s in general were not a great decade for American films (at least the critical ones -- the decade excelled at pop culture). But this just screams "lifetime achievement", thanking Hepburn and Fonda, knowing they brought great work to the screen and may never do so again.

The film itself is alright, with a nice story about generations growing apart and trying to reconcile that. It is not as memorable as it seems it should be, but a good film, just the same.

One-Kleenex weeper about wily old curmudgeon and his wife taking in their estranged daughter's boyfriend's teenage son for the summer. Ernest Thompson adapted his hit play (and won an Oscar) but his material is hoary, pedagogic in the most condescending way, and unbelievably ham-handed. It's also so plastic that the capable cast can't overcome the theatricality of the entire occasion (this is the kind of movie where an early phone conversation with the local operator leads nowhere--she never even calls back as promised--it's just there to tell us how isolated in Mayberry we are). This is perhaps the worst performance by Jane Fonda I've seen, but of course she's stuck with a terrible role; her father's acid-tongued jabs at her are designed to appeal to us in the audience, while her resentment of being put-down by him is a signal for us to think she's a heartless bitch. Henry Fonda and Katharine Hepburn won Oscars for their work in the leads, and they have a couple of sterling--indeed golden--moments together, but this is a very patchy vehicle, lightened by 'with it' humor and a fake-sincere happy ending. ** from ****

Cinematically, "On Golden Pond" is a breathtaking movie. The enveloping surrounds of the woods, the shimmering gold of the pond at dark, the loons, the details of the water plants. Rarely I have seen such a eye captivating piece of film. And set to the gentle, breezy thought provoking music makes it nothing short of perfect.

Reduced to a single plot line, this movie would sound rather silly. It is one of those films in which the lead actors already supercede the brilliance of the writing. This of course could be expected from two of Hollywood's best loved veterans. There were things in the movie I could see coming due to experience, but the amount of plot turns was amazing. There was also enough direction, good in the sense the director achieved getting what he wanted, but without interfering too much with the performances.

Henry Fonda, in his final performance as the cranky, lovable Norman, made me sit up and take notice in his only Oscar deserved role. I had seen him previously in earlier films like "The Grapes of Wrath" and "12 Angry Men", but I disliked both of them. His pivotal performance in the interaction of the 13 year old Billy was incredibly funny, moving and something that many people could relate to because of the generation gap.

The film truly captured the spirit of Katharine Hepburn, not very much unlike the loving, cheerful Ethel herself. At least twice in her legendary career she was passed over for two Oscars she deserved, for "The Philadelphia Story" and "The African Queen". It was great of the Academy to hand Kate her last well deserved award.

The other support actors managed to do a pretty great job. The exception was Jane Fonda for her performance as Chelsea. It may or may not have been her fault, but her acting was pretty weak, regardless of the script.

Underneath it all, there are messages. Things that we could help mend but with our continued prejudiced beliefs never happen. The example of this was the tense relationship of Norman and Chelsea, a problem staring them in the face but could have been solved if only there were a little faith. In real life, we don't have to look much further than our front door to find these things.

"On Golden Pond" has taken its place as one of my favourite movies. The nominations and Oscars it received that year was well deserved. I love the movie mostly through the fact that violence and special effects are not needed to drive it, too typical of movies right now. It was made at a time when these things were too sadly emerging, so it was really a breath of fresh air amongst sameness. The movie was wholesome indeed, but it had something else. It was compelling drama, and real to life honesty and humanity are all that is needed to make it a movie great. And its all these elements for which it should be credited.

Rating: 9/10

I grew up in the Lakes Region of New Hampshire, and was there when this movie was being filmed. It was really quite the local event. On Golden Pond not only showcases the stunning scenery of that region, but Henry Fonda & Kate Hepburn's dynamic performances truly capture the New England spirit. I can't tell you how many Ethel Thayers I met growing up!

There were three lakes used in the filming. Squam-where the cabin was. Newfound-where Henry fell into the water while fishing, among other shots, and Winnipesaukeee, for most of the aerial shots, and the mail boat. While they did combine the lakes into the fictitious `Golden Pond', what you see on the screen is what those places look like. No post-production trickery here.

There haven't been a ton of New England movies made. Good Will Hunting and Perfect Storm got a lot of attention, but On Golden Pond, in addition to being one of the finest character studies in film history, perfectly captures New England: beautiful, contemplative, with an understanding that newer isn't necessarily better, and that still waters truly run deep.

On Golden Pond is the film version of a major stage play by the same name. On Golden Pond has three of cinema's best performances by Henry Fonda, Katherin Hepburn, and Jane Fonda. I had expected good performances by Henry Fonda, who was also amazing in 12 Angry Men, and Hepburn, who has been amazing more times to count. The one great performance I wasn't counting on was Jane Fonda who from what I had seen before now seemed to have inherited none of her fathers talent. She was brilliant in a fairly small roll as the estranged daughter of Hepburn and Henry Fonda. The script and direction are also very fine and very close to the play. The cinematography and score are also brilliant. On Golden Pond is also surprisingly hilarious and is very heartfelt.

There is a film like this very rarely and indeed it works like we actually do know the Thayers. Indeed we can most certainly relate to Henry Fonda while Katharine Hepburn is more then an incredible actress. In this film the mix of drama and comedy from her as a character shows why she won that record breaking fourth Oscar statuette.

I'll just say the story in a nutshell. Jane Fonda and her father did not get along. Jane, however wanted one last chance for a close bond to her father and bought the rights to the play "On Golden Pond." In the film the Oscar winning performance by Henry Fonda (his only in a career spanning decades.) Jane fully deserved her Oscar nomination for her exceptional (and of course very realistic performance.) In the actual film the chemistry of Hepburn and (Henry) Fonda is perfect. This film really to try to put into words is a really touching gem that makes you feel so uplifted. Your spirits soar and any relationship that can be amended and is anywhere near as strong in the film (From Hepburn and Fonda) shows us what acting can do.

Oscars abound, critical praise and very likely the last of the old fashioned melodramas (Mainly because acting has moved on a generation from these sorts of films.) The sentiment and feel is perfectly placed and the storeys clicked so much like the Fonda Father- Daughter relationship. It is a warm intelligent character based film that i would advise everyone to see at once!

Can you imagine a better group of actors? Among the cast, there are 7 Academy awards between them. The greatest of American actresses, Katharine Hepburn won 4 including one for this film. Henry Fonda won his only academy award even though he was one of America's greatest living actors. You can't imagine any other actor or actress playing Norman and Ethel Thayer. Jane Fonda has always been a great actress of her own. Even though winning 2 Oscars was never as thrilling as accepting on the behalf of her dying father. This film was his last chance at an Oscar and he won the award. Ernest Thompson's script just allows the cast to flow. I can't forget Dabney Coleman playing their daughter's boyfriend and Doug McKeon as the grandson that Henry's character, Norman Thayer, never had. I bet Katharine Hepburn performed her own dive in the water. It's still one of the best films of the last century which did not get in the top 100 films of all time. I can't imagine why. The cast is excellent. Believe it or not! Jane Fonda fought to get this produced because she knew her father was dying and the studios didn't want to take a chance on Henry Fonda. There are several great moments in the film. Sometimes the film is heartbreaking like when Norman talks back to the teens on the dock. I love the way that Fonda and Hepburn really act and appear like an old couple. I thought they were together in real life. You can't imagine a finer couple on screen. I'm glad Jane did this film as well. Who else can play Henry Fonda's daughter? You have to believe that they weren't acting between father and daughter.

A story about an elderly married couple, with the male being senile and whining all the time. Wow, what entertainment!

Sarcasm aside, this was brutal movie to watch when I saw it at the theater. Rarely I have squirmed so much in my seat, wishing this thing would end and someone would put "Norman Thayer Jr." (Henry Fonda) out of his misery and end this depressing story. It - and he, meaning Henry Fonda - wasn't just uncomfortable; it/he was irritating. I actually gave it another shot on VHS 10 years later, but couldn't finish it.

Don't let the fact this won three Oscars fool you. That was mainly a totally-sentimental vote for the dying Fonda. (He passed away the year after this was made.) His character in here not only was beyond annoying, but also obnoxious. Add in the usually obnoxious Katharine Hepburn and the always-irritating Jane Fonda and you have a real downer of a film. However, it was Mr. Fonda's character, not the two women, that was too much to bear.

Summary: a depressing and vastly overrated film, about as much fun as the proverbial "root canal" at the dentist's office.

If nothing else, "On Golden Pond" will likely be remembered as Henry Fonda's final theatrical role. He finally won the Oscar after a lifetime of greatness. Just as potent is Katharine Hepburn in her record fourth Oscar-winning role. The film deals with an elderly couple that come to terms with conflicts that have lingered between them and their now-grown daughter (Jane Fonda in an Oscar-nominated role). The film is a great testimonial to old-style Hollywood film-making and is a tremendous tribute to a royal family of the cinema (the Fondas). Jane and Henry's real-life relationship is displayed to a degree here and this makes the film that much more realistic and entertaining. 4.5 out of 5 stars.

On Golden Pond (1981)

A reasonably well written if somewhat obvious play, some decent decisions about editing and filming if nothing special, and two utterly perfect, touching, inspired performances. Katherine Hepburn and Henry Fonda, both late in their careers, are unbelievably perfect as an old couple all too familiar with each other and still beautifully in love. They are funny, tender, delicate, sassy, and idiosyncratic to a tee. Great great stuff.

When daughter Jane (Fonda) arrives, playing their daughter, with her faux-husband (Dabney Coleman), the plot gets complicated in clumsy ways, predictable ones, with a step son to mix it up. The middle third of the film is therefore almost dispensable, except to see what happens, but it's straight ahead drama without nuance. There is that pretty but somewhat annoying music David Grusin was used for so often in these years, and there is the routine construction and editing throughout. Director Mark Rydell is understandably little known (he did other routine stuff for movies and television, but nothing with these credentials again).

But hang in there. By the end, we have out two stars again, and boy, you know them from years of movies, you feel like you know them now. They have different names, but there they are, Henry and Kate, and it made my cry shamelessly. As a movie lover, I guess, but also as someone who loves sincere drama well done.

So how to judge this as a movie? I almost say don't. Judge it as a vehicle for seeing these two truly legendary and remarkable people, actors and humans both, almost as themselves, pouring it on and letting it all out. It's no surprise they BOTH won best acting Oscars, and the writer won a third Oscar for the movie.

Hardly a classic.

A retired couple, Ethel and Norman Thayer, are spending a summer in a cottage near a lake, as they always do. This time, however, their semi-estranged daughter, Chelsea, joins them...

Maybe you have to be old to appreciate the characters and the interplay, but I found this pretty boring.

The "quirkiness" (more like senility) of Henry Fonda and Katharine Hepburn's characters irritated me. The jokes seemed lame and trite.

The father-daughter relationship issue, meant to be the central plot line, seemed not as significant as it was made out to be, and overdone.

Not a classic, by any stretch of the imagination. I'll give it another go, though, in about 30 years time...

It's not many years ago I watched this film for the first time. Had to admit that before watching it I was a bit skeptical, I thought it would be just one of those boring hyper-romantic films but....

Finally when I got the chance to watch it I was breathtaken! This film is simply a masterpiece of a time that, unfortunately, is long gone. A time where love could last a lifetime and still be beautiful at the end of life. How many of those films are made today in this hasty divorce filled time? Not many I'd say!

It was such a beautiful experience to watch this film and in a strange way it made me also sad. Mainly because today's world isn't like that anymore for how many people can stay in love and care for eachother after 50 years? The theme of everlasting love, knowing eachothers habits through a whole life is really something very very special.

The roles as the elderly couple were also played with such an honesty that it was amazing and the music plus the landscape and the actual calmness of the film makes it into a film that won't ever be forgotten; at least it shouldn't be!

Of course it's romantic but it's also realistic and that's what makes it different from other socalled romantic films. There's a catch in it and there's something to think about too!

The beauty of these two old people and their relationship is something I believe many people will envy. Having been together for half a century and still being so much in love as the film shows.

A film that ought to be seen by people who still dare to believe in lifelong love and for those who don't - forget about it then you'll just waste your time or think "jee, that's ridiculous"...

A gloopy, mawkish family drama that asks three wonderful actors (Henry Fonda, daughter Jane and Katharine Hepburn) to deliver material that belongs on the Lifetime channel.

Henry Fonda at least gets a character to work with, that of a curmudgeonly husband and father who's beginning to show the first ominous signs of senility. Any old actress could have played the role given to Katharine Hepburn, and poor Jane gets this film's short end of the stick, playing a bratty daughter who doesn't know how to connect to a dad that would rather have had a son. No worries though; everything ends happily and Jane is finally able to do back flips off the pier at her parents' lakeside home (or whatever it is she ends up doing), a talent that bears the symbolic import of encapsulating all the ways she feels like a failure in her father's eyes.

I doubt the movie would have been half as well received by the movie public had it not had the gimmick of a real-life father and daughter (whose personal relationship was also known to be strained) playing themselves and had the world not suspected that Henry Fonda wouldn't be around much longer. The world was right -- he would win an Oscar for this film and then promptly die. God knows the man deserved an Oscar, but not for this. And don't even get me started on Hepburn's win....

Grade: C