Norman is a curmudgeon with an estranged relationship with his daughter Chelsea. At Golden Pond, he and his wife nevertheless agree to care for Billy, the son of Chelsea's new boyfriend, and a most unexpected relationship blooms.
At the age of twenty-nine, Elgar Enders "runs away" from home. This running away consists of buying a building in a black ghetto in the Park Slope section of Brooklyn. Initially his ... See full summary »
Sally Bender is the wife of a Captain in the United States Marine Corps. He is sent over to Vietnam, and Sally is alone. With nothing else to do, she decides to volunteer at a local veteran's hospital, where she meets Luke, who went to high school with Sally. Luke was wounded and is paralyzed and confined to a wheelchair. When Sally begins to fall in love with Luke, she has to make a crucial decision about her life. Written by
Bruce Dern plays a Marine Captain.
Even in the late 1960s early 70s he wouldn't have had hair and a mustache that long. See more »
So, Bob, tell us about your foot.
Capt. Bob Hyde:
Its not my foot, it's my leg and it's a god damn bore. Just like this whole f*ckin' war is boring. But, ladies, ha-ha, ole Bob has got to tell you one thing that is not boring and that is a good ole U.S. of A. martini! Of which, I am going to partake, as much as I can and as quick as I can.
Drink it up. I made gallons.
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Four members of the film crew are designated as "Friends who did everything". See more »
"You can't come back...and think you are still there"
Director Hal Ashby's amazing sense of time and place puts us right on the homefront of war, and "Coming Home" is arguably the best movie about war since "From Here To Eternity". When Jane Fonda, newly conscious of the problems facing the wounded men returning from Vietnam to the States, tries involving her women's club in a story about the soldiers and the ladies rebuff her, she doesn't bellow or preach--she does what we all would do, she gets mad and cusses 'em out. Her (extra-marital) relationship with paraplegic Jon Voight steers the movie's narrative away from the horrors of the era in the film's second-half (perhaps unintentionally, Ashby softens the scenario, making these lovers guiltless and a bit saintly). However, the Oscar-winning performances by both actors is admirable, and I loved it when Voight asks Fonda if she'll always be his friend (and makes her repeat it just to be sure). Ashby doesn't treat Vietnam trivially, although the war nearly becomes the backdrop to this affair. Still, these central characters are compelling and emotions run high. Penelope Milford's cynical working-girl is also wonderfully realized, but too-intense Bruce Dern is one-note as Fonda's husband (we don't see the arc of his character, and Dern gives us no variations). An evocative piece with terrific cinematography by Haskell Wexler and a fabulous '60s soundtrack. ***1/2 out of ****
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