A consistently intelligent (or at least bright), coherently constructed comedy that is on occasion a rather pointed critique of the American education system in the…
Simple affection is so rare in the movies. Shyness and resentment are also seldom seen. Love is much talked-about, but how often do we really believe that the characters are in love and not simply in a pleasant state of lust and like? Fragile emotions are hard to portray in a movie, and the movies that reach for them are more daring, really, than movies that bludgeon us with things like anger and revenge, which are easy to portray.
"On Golden Pond" is a treasure for many reasons, but the best one, I think, is that I could believe it. I could believe in its major characters and their relationships, and in the things they felt for one another, and there were moments when the movie was witness to human growth and change. I left the theater feeling good and warm, and with a certain resolve to try to mend my own relationships and learn to start listening better. All of those achievements are small miracles for any movie, but especially for this one, which began as a formula stage play and still contains situations and characters that are constructed completely out of cardboard.
The story of "On Golden Pond" begins with the arrival of an old, long-married couple (Henry Fonda and Katharine Hepburn) at the lakeside cottage where they have summered for many years. They know each other very well. Hepburn, of course, knows Fonda better than he knows her -- or himself, for that matter. Fonda is a crotchety, grouchy old professor whose facade conceals a great deal of shyness, we suspect. Hepburn knows that. Before long, three more people turn up at the pond: Their daughter (Jane Fonda), her fiancé (Dabney Coleman), and his son (Doug McKeon).
That's the first act. In the second act, the conflicts are established. Jane Fonda feels that her father has never really given her her due -- he wanted a son, or perhaps he never really understood how to be a father, anyway. Jane tells her parents that she's spending a month in Europe with Coleman, and, ah, would it be all right if they left the kid at the lake? Hepburn talks the old man into it. In the central passages of the movie, the old man and the kid grudgingly move toward some kind of communication and trust. There is a crisis involving a boating accident, and a resolution that brings everybody a lot closer to the realization that life is a precious and fragile thing. Through learning to relate to the young boy, old Fonda learns, belatedly, how to also trust his own daughter and communicate with her: The kid provides Henry with practice at how to be a father. There is eventually the sort of happy ending that some people cry through.