L'affrontement

The reason I have such fond memories of this movie is because I remember how I felt (and still do - but it's not the same as the first time) the first time I saw it on video, in maybe 1993, and the feelings it provoked in me.

I graduated from high school in 1984, the year the film was made, and my mother had passed away earlier in 1979, leaving me to grow up after 13 years of age with my father and younger sister. My older brother was soon to go into the Air Force, and my older sister was already away to college. While there were many differences between Paul Newman's character and my own father, the fundamental relationship he had with Robby Benson was right on the mark with me and my father. My father died when I was 26, in 1993. I think that Robby Benson's character was a few years younger when his dad in the movie died, but it was close enough to hit home with me. I, like the Benson character, was a little aimless after high school, and my father did seem to have more patience with me at times, he could give me some harsh input at other times. And my father went for 10 years without dating anyone after my mother passed away, but towards the end of his life he did find a woman that he had a lot of fun with, and we all did things together at times as well. My father was also about the same age as Newman's character when he died, and I was present right after he had his final heart attack and died at home.

Now that I have explained some similarities with my life and the movie, I'll get back to why I liked the movie so much. It wasn't because of the coincidental similarities between my life and the movie, but because my life is real, and many people have many of these same basic father-son dynamics, and the writers(half Newman), actors (big part Newman), and director (Newman again)somehow pulled off an amazing dose of reality with this film that is common to all of us. Newman just commits himself so honestly. He has that seriousness in his character that at times is how many capable, grounded, but real fathers are; sometimes mixes it up with a humor that is just as honest and bold, maybe even irreverent, and then other times when they're with their sons and they have a 'comradery'. And then other times when fathers are just plain irritated, and the son knows he's on his father's bad side at the moment, and he should be worried, but he also knows that his father is a softy down deep. However a son would never challenge him and expect that soft side, and the son also instinctively knows that his father isn't perfect but he is much wiser than the him, and he certainly knows the father really does love him and has the son's best interests at heart.

To summarize, first of all the performances in this movie are of a Team who were in touch with the bareness and essence of our life, of our American society and family reality. And then secondly, they somehow manage to give it back to us for us all to see on the screen, and allow us to see ourselves in a new and deeper way. I understand myself and my relationship with my father, and his relationship with me, a little better because of this movie. And that is the goal of any art, and should be the goal of people intending to make good movies. Because this movie taught me so much, I have to say that it I value it is a great movie, it (the whole Team) delivered what might be expected from the title and beyond; it was heart breaking and heart warming, it was meaningful, and I had fun watching it!. Thanks to the whole Team, but a very special thanks to Paul Newman!

Pat Wilson

Harry & Son (1984)

** (out of 4)

Family drama centering on father Harry (Paul Newman), a blue collar construction worker who loses his job due to an unknown illness he's suffering from. Harry has trouble trying to connect to his growing son Howard (Robby Benson) who wants to make it as a writer. The son can't keep a "real" job, which rubs his father the wrong way since he actually wants to work but is unable to. You can tell this was a labor of love for Newman who not only plays the lead but he also directed, produced and co-wrote the screenplay. If you've seen some of Newman's earlier directorial films you'll know that he can create some very touching pictures and there are glimpses of that here but sadly the end result is that HARRY & SON is a complete misfire and without question the low point in Newman's directing career. The biggest problem is without question the screenplay, which is a real mess. I think this movie is supposed to be about a father and son relationship but you'd never know that because not for a second does Harry and Howard come off as some sort of connection. The relationship between the two never really comes off as a father-son thing and another major problem is that neither character really gets a chance to grow. I'd also say that the screenplay really doesn't give us much to go on because we never fully understand their motivations. We never really know why the father is so against his son. There's a subplot with an issue between Harry and his daughter that we never fully understand. There are a wide range of characters who pop up only to either disappear or you never fully get to know who they are. Another major problem with the film is that even though it runs 117-minutes, in the current form, that's way too long as scenes just seem to drag on or the obvious just happens. I'm not sure if this was originally much longer and perhaps some of the character development had to be cut out to get it down to its current length. The one saving grace here and what keeps the film from being a major dud are the performances, which for the most part are very strong. Newman has no trouble playing the troubled blue collar worker but one wishes the screenplay would have given him a stronger character to stick his teeth in. Joanne Woodward is very good in her small supporting role as a love interest. We get other good performances from a likable cast that includes Ellen Barkin, Wilford Brimley, Ossie Davis and Morgan Freeman. The one exception to the good performances is Robby Benson who is pretty bad here. Rumor has it that he actually got this part over Tom Cruise, which is a real shame because I think that actor could have done much more. Benson is really lackluster and his rather bizarre performance makes his character more creepy than anything else. Even worse are his incredibly horrid facial gestures, which quite often make the viewer break out in laughter, which certainly wasn't the intent. HARRY & SON was overlooked when it was released and today it's only of interest to Newman fans who want to see the lower side of his career.

For a kid from the posh suburb of Shaker Heights, Ohio Paul Newman has a remarkable affinity for playing blue collar men. This is a guy who knows the value of hard work and it's his greatest disappointment in life is that he hasn't passed on that value to his children, Katherine Borowitz and Robby Benson.

It's Benson who Newman worries the most about. He wants to be a writer, but that just doesn't happen over night. One has to get out into the world and acquire a little life experience to learn what one wants to write about. The only one that didn't apply to was Emily Dickinson. Benson cites Hemingway as getting rejected 300 times before getting some money for his thoughts. But there certainly was a man who had himself a lot of life experience and earned a few dollars to pay his own way.

I could understand Newman very well since I came from a family of uncles just like Newman on my mother's side. I could understand Benson less so since all he wants is surf and sex. He tries working at some dead end jobs, his scenes with Morgan Freeman at a cardboard box factory and trying to repossess Ossie Davis's car are his best in the film.

In fact Newman's tragedy is that health issues cause him to stop working and he won't acknowledge them.

But it's Newman and Benson that's the heart of Harry&Son. Father and son Keach come to a kind of understanding toward the end. The film is not the best from either Newman or Benson, but nothing to be ashamed of here.

You see, it can be done. It is possible, even in the last decades of the 20th century, to make a good feature film that concentrates on character and eschews action. We don't need car chases to help us through the story, because we care about Harry and Howie and want to see what befalls them. Paul Newman co-wrote, directed and produced this absorbing tale of father and son, continuing his long tradition of intelligent movie-making.

Harry works the wrecking ball on a demolition site. He is a gruff, inarticulate fifty-something who likes his job. Howie is maybe 20, a dreamy young man who wants to be a writer. He has no real work, dividing his time between the car wash where he has a part-time job, his surf board and the family's hot tub, in which he does most of his writing.

And therein lies the conflict which drives this story. Harry was brought up not to question the importance of working for a living. His inflexible blue-collar morality is offended by Howie's lazy, self-indulgent lifestyle. Howie, on the other hand, grew up in a climate where self-expression and leisure activities count for more than the humdrum business of earning a living.

A medical condition forces Harry out of his job. Newman is impressive as the ageing, weakening man's man who is gutted by the loss of his livelihood, because to him it means the loss of his validity as a man. He sees Howie's vitality and intelligence and cannot come to terms with his son's lack of ambition. In one of their regular fights, Harry encapsulates the situation neatly. "I want a job and can't get one," he tells Howie. "You can, and don't."

Bright and personable, if a little too pretty in the John Travolta way, Bobby Benson plays Howie with enthusiasm. The contrast between the dour widower and his cheerful, energetic son is nicely conveyed. Supporting the two central performances are Joanne Woodward as Lillie and Ellen Barkin (Katie). Lillie is a friend of the family who develops a 'thing' about Harry. Her daughter Katie is a girl of easy morals whose relationship with Howie rekindles after a break-up.

Nice touches include the black screen at the very start which is shattered by Harry's wrecking ball, and the backlighting which gives Katie a 'halo' as she sets out her ethical position. I didn't like the too-convenient cheque which arrives from John Davidson or the ease with which secretary Sally can be suborned for sex. For me, Benson overacts horribly in the 'discovery' scene. Indeed, what happens to Harry is an unnecessarily dramatic event in this gentle, understated film.

Paul Newman plays Harry Keach , a father who has been widowed for two years , who works as a demolition crane operator . He loses his hub due to a medical condition and finds himself battling his son and other personal demons .

When you think of Paul Newman films you don't think of Harry & Son and for good reason . This overlong , melodramatic film , directed by Newman is definitely not his best work .

It's nearly two hours of nothing much which ends extremely abruptly . Almost as if they ran out of money!

It definitely has the feel of a TV movie but actually wasn't .

Newman , unsurprisingly is the best thing about this film along with his real life wife , Joanne Woodward , but I haven't addressed the elephant in the room yet and that's Robby Benson who plays Howard , the son.

What a terrible actor ! He prances around looking like a cheep John Travolta, in a pair of shorts that should be on a twelve year old boy , flashing his eyelashes and whispering every line as if he's trying to be Brando . The worst thing is he has a massive amount of screen time as well .

He really is appalling and it's no wonder I've never seen him In anything since.

It was interesting to see a young Morgan Freeman in a small cameo and Wilfred Brimley whois criminally underused.

Unless you are a massive Paul Newman fan ( and I am ) , then I wouldn't bother .