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 Joey (Katharine Houghton) and John (Sidney Poitier) leave the gallery near the start of the movie, the Cartright Hotel is briefly seen opposite. This hotel remains virtually unchanged, and is at 524 Sutter Street, San Fransisco, California. See more »
The way Poitier hold/talks on the phone with his father, inviting him to dinner is inconsistent between shots. 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 »
A Sad, Innocent Film Foreshadowing an America That Never Became
I'm going to speak frankly.
As a person who is by no means a leftist or a liberal, I found this film to be very moving. Most people who review the film I assume are liberals, so I guess I offer a different perspective.
For me, this is a sad film. It is sad because the vision of America that the liberals Tracy and Hepburn's characters have here just did not pan out. The moment when Poitier's character says "you see yourself as a colored man, but I see myself as a man" shows just what sort of society these people imagined we would have, and it's tragic that history did not turn out that way.
From the vantage point of 2017, race relations are worse than ever before. With SJWs, Affirmative Action, crime in the inner cities, anti-white racism, immigration problems etc, the vision that race would no longer matter just simply did not pan out. As whites today this film can only make us sad. It's tragic.
I almost wish things did turn out that way, that race in America could have become a nonfactor and that none of the crazy problems we face today exist, but they do. And so viewing this film in retrospect, it seems so innocent and naive in a tragic way.
Beautifully filmed with a San Francisco location and a lovely soundtrack, this is by all means a tremendous film, and I probably like it a little more than snotty liberals who probably can find this or that reason to view this film which to me seems progressive as "reactionary."
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