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.
After a period of vacation in Hawaii, Joanna "Joey" Drayton returns to her parents' home in San Francisco bringing her fiancé, the high-qualified Dr. John Prentice, to introduce him to her mother Christina Drayton that owns an art gallery and her father Matt Drayton that is the publisher editor of the newspaper The Guardian. Joey was raised with a liberal education and intends to get married with Dr. John Prentice that is a black widower and needs to fly on that night to Geneva to work with the World Health Organization. Joey invites John's parents Mr. Prentice and Mrs. Prentice to have dinner with her family and the couple flies from Los Angeles to San Francisco without knowing that Joey is white. Christina invites also the liberal Monsignor Ryan, who is friend of her family. Along the day and night, the families discuss the problems of their son and daughter.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
When Mrs. Drayton, her daughter and John Prentiss first sit down in the terrace together, Mrs. Drayton's fingers are inter-laced and she's touching her chin. A moment later, her hands are folded and across the plate that's in front of her. See more »
You know, I just had a thought. Why don't I go check into a hotel and get some rest, and you go find your folks?
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When Monsignor Ryan is added to the guest list, Joey goes to tell Tillie. Joey asks "Guess Who's Coming to Dinner?" and Tillie replies "Reverend Martin Luther King". Following the assassination of King, this was removed - Joey says she'll tell Tillie but we see nothing more. Several months later, this gag was restored. See more »
Here's a great way to spend an afternoon: watching some of the greatest actors of all time in a film that still has relevance today. Such a cast! Hepburn is wonderful as always, very energetic, with no trace of the shakiness of her later years.
Tracy, gruff, the way most probably remember him - sort of a ratcheted up version of the roles he played with Hepburn in earlier years. His ill health is obvious though to the careful observer: voice a little weak at times, and Tracy's step missing the "spring" of his earlier films. The fact that this his last film was so memorable, and of such quality just adds to his legend.
Potier of course turns in a great performance, impeccable as always.
Watch for Isabel Sanford, ("The Jefferson's") particularly the one memorable scene where she explains to Potier's character just what "black power" really is.
Cecil Kellaway sparkles as Monsignor Ryan, and Beah Richards and Roy Glenn, as the parents to Potier's character, mirror Hepburn and Tracy.
Indeed, there is so much real honest-to-god acting talent concentrated in this movie, it seems almost unfair, what I'm about to say: Katharine Houghton, as 'Joey' is the only character with only 2 dimensions. She's the ever-smiling, but clueless daughter and object of Dr. Prentice' affection. She's such a Pollyanna, and remains oblivious to the drama going on all around her, and everyone else conspires to keep her in the dark throughout the entire film. (No wonder her father is concerned.) I think it's fair to say that Houghton's character is the one weak spot in this otherwise excellent film.
That said, this is a wonderful film that I will always watch when it comes on. It's such a treat to watch these legendary actors at work. I highly recommend it.
By the way, there's no glass in Spencer's eyeglasses during the ending monologue, is there he's wearing only frames, right?
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