引退した大学教授であるノーマンは長年連れ添った妻エセルとともに、２人で過ごす４８回目の夏期休暇のため、ニュー・イングランド地方の森の別荘へやって来る。そこへ、かつて家出して以来、音信不通だった娘のチェルシーが、婚約者とその息子を連れて現われる。実はチェルシーと婚約者はヨーロッパ旅行に行く途中で、2週間のあいだ、婚約者の息子を預かってほしいとチェルシーは両親に頼み、両親はそれを引き受ける。
AIが作品の魅力を深く読み解いています
製作費: $15,000,000 (23億円)
興行収入: $119,285,432 (179億円)
推定収支: $104,285,432 (156億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Mark Rydell
脚本: Ernest Thompson
音楽: Dave Grusin
制作: Bruce Gilbert
撮影監督: Billy Williams
制作会社: IPC Films / ITC Entertainment
Can you just imagine how 15 year old Doug McKeon must have felt when he was cast in a movie with one Hepburn, two Fonda's and almost twenty Oscar nominations between them? Well nervous as he must have been, he acquits himself confidently as "Billy" arrives with his dad (Dabney Coleman) and his new girlfriend "Chelsea" (Jane Fonda) who just happens to be the daughter of the curmudgeonly old "Norman" (Henry Fonda) and wife "Ethel" (Katharine Hepburn) who have a summer home "on Golden Pond". It's clear that the relationship between father and daughter is bit strained, their vitriol is dished out with little love or affection. When "Chelsea" announces that she is to head to Europe with her beau and they want to leave the young lad behind for a month, "Ethel" likes the idea and so it's arranged. The teenager is initially a bit typically recalcitrant but after some butting of heads with "Norm" they find a common affection for chasing "Walter" out on the lake. From here on in, it's all a bit predictable but it's the chemistry between Fonda and Hepburn that shines here. Two old professionals imbuing their characters with a sort of charming crustiness that's embedded in a true love that they convey delicately and frequently quite sarcastically. The photography, indeed the whole location scenario, complements the simplicity of the story admirably and it's one of those films that reminds you of just what a real star was. It also introduces the slightly less decorous phrase "suck face"! The musical scoring is a bit soporific and plinky-plonky, but that's a nit-pick of a classy piece of cinema that even the most cynical would have to raise a smile at.
