Henry Fonda & Katharine Hepburn as Norman & Ethel Thayer, the devoted couple  facing old age, in 1981's drama, "On Golden Pond." Fonda's hat belonged to Spencer Tracy, a gift to Hank from Kate!

I have been revisiting movies of my youth that I haven't seen since their initial release, to see if they live up to my memory. I watched On Golden Pond for the first time since I saw it in a theater shortly after its Dec. 4, 1981 release. It was interesting to see On Golden Pond now, as a 66 year old, from when I was 22 years old. Talk about perspective!

I enjoyed On Golden Pond back in the day as a sentimental tale starring two Hollywood legends. Even as a '70s teen, I loved classic movies and older people. I watched all the older stars from Hollywood's heyday in their golden era glory on the afternoon movies, like Henry Fonda and Katharine Hepburn.

"On Golden Pond" was a modestly successful play that became a sleeper hit movie.

As an adult, I lived in Traverse City, MI for three decades. Eventually, I moved up on a hill in a neighborhood adjacent to the Traverse City Country Club. All the houses were built post-war and nearly of the original owners still lived up there. Most of the residents were retirees and I had just turned 30!

Most of those wonderful neighbors are gone now, but I have very fond memories of them. One of my favorites was Claire Nixon, who I always called "The Katharine Hepburn of Traverse City." I was her and husband Don's neighbor for many years. For those who find On Golden Pond phony, I beg to differ. Claire and Don were Traverse City's version of On Golden Pond. Claire was very much Kate's Ethel Thayer, full of energy and good-natured bossiness. She was also very outdoorsy, on Cedar Lake in the summer and downhill skiing around northern Michigan in the winter. Don was the guy who was always working on something, his garage as organized as an Ace Hardware store. Don could be a curmudgeon, but he was really a stand-up guy. As a neighbor, he was most helpful to this guy, who didn't know how to fix anything! Of the two, Claire outlived Don, until age 90. Like the Thayers, Claire and Don bickered, but were totally devoted.

Me at Claire Nixon's funeral in 2015. A favorite picture of Claire & Don, they were right out of "On Golden Pond!" Claire was the Kate Hepburn of Traverse City.

On Golden Pond is a very mainstream and simple story, but it's not simplistic. From Ernest Thompson’s play, the story focuses on a senior couple whose semi-estranged daughter comes to visit them at the family cottage at the title location. She brings her fiancee and his son. They leave the son with her parents for a month, while they go off to Europe to marry. Their interaction with the boy shines a light onto the family dynamic. When the daughter returns, the stage is set for reconciliation. 

Katharine Hepburn is Super Kate as Ethel Thayer in 1981's "On Golden Pond."

Jane Fonda as daughter Chelsea maybe be dysfunctional, but has a bod to die for, in 1981's drama, "On Golden Pond."

I think all three of the stars' performances are well-done, but their individual persona presentation is telling. Katharine Hepburn is at her most Kate, while Jane's focused a bit much on looking fab at 40-something. On Golden Pond really gets much of its resonance from Henry Fonda's honest portrayal of a difficult man, not unlike himself. Fonda was the classic buttoned up man of his era, warm and charismatic on film, cool and taciturn off-camera. Though he has his share of grumpy old man humor, Fonda presents himself as he actually was at the time, old and frail. The scene where Henry looks at himself bemusedly in the mirror, next to a photo of his handsome young self, is wistfully touching. Fonda's scenes as cranky Norman baiting daughter Chelsea's boyfriend (Dabney Coleman) then getting called on the earnest dentist, is honestly played. The same later, where he's taking digs at the prodigal daughter. When she finally snaps back, he looks surprised. And there are several scenes where Norman's increasingly revealed frailty are brave choices for an actor long renowned as a tower of strength. There's no vanity or preservation of image from Henry Fonda here, unlike his female co-stars. His Oscar win, long overdue, was most deserved. 

Henry Fonda as Norman Thayer, looking at his current self with resignation, in 1981's "On Golden Pond."

I like the fact that Henry Fonda or On Golden Pond’s story doesn't gloss over Norman's irascible nature. Though I found Jane Fonda presenting herself a bit too much as the fit movie star (next year she would launch herself as the workout queen), her performance as the perennially disappointed daughter rings true. The scenes of Jane’s Chelsea opening up to Fonda’s prickly father feel painfully real.

Kate Hepburn's Ethel is empathetic to Jane Fonda's Chelsea, but seems to place all the blame for the bad blood with father Norman (Henry Fonda) on her. From 1981's "On Golden Pond."

Katharine Hepburn's "get up and get over it" attitude rings true as Ethel Thayer, if not correctly. After all, why is it up to the daughter to make up with a less than wonderful father? Then again, this was the era when these issues were first being publicly discussed. Hepburn was famous for her both doting and dysfunctional relationship with alcoholic Spencer Tracy. Hepburn's devoted admiration toward Fonda's Norman is very similar to how she doted on Tracy in their movies, especially Guess Who's Coming to Dinner?

Katharine Hepburn as Ethel gives Henry Fonda's Norman the "you're my knight in shining armor" pep talk, a lovely moment, from 1981's "On Golden Pond."

Hepburn does her hale and hearty bit, playing to the public perception of her as superhumanly indomitable. And when Kate's Ethel Thayer isn't hauling wood, manning a boat, or jumping in the water, she's imparting wisdom to her grumpy old husband and daughter with a chip on her buff shoulder. When the movie is at its most serious, Hepburn is direct and appealing, as when she's lifting her diminished husband up and cheering him on. Ethel Thayer was Kate’s best film role since The Lion in Winter, bringing star power and skills, and winning her a fourth Oscar.

Kate Hepburn's rendition of "Happy Birthday" is one you will never forget, in 1981's "On Golden Pond."

It is interesting how age perception has changed. Kate was 74 and Fonda 76 when On Golden Pond was released. By today's standards they seem a decade older, in behavior and ailments. In the film Hank's character turns 80 and Kate is 70ish. Fonda died less than a year later, whereas Hepburn lived until 2003.

Hank Fonda & Kate Hepburn were in they're mid-70s when they made 1981's "On Golden Pond." He died later the next year; she lived for 22 more years.

The music was by Dave Grusin, whose music has been the soundtrack to many baby boomers' entertainment lives, from The Graduate to The Goonies, from themes like The Name of the Game to Good Times. And Billy Williams beautiful and detailed photography is memorable (he's lensed everything from Women in Love to Ghandi). Mark Rydell, an actor himself, was a director great with actors, especially high-powered ones, from Steve McQueen to Bette Midler, and here On Golden Pond, the Fondas and Katharine Hepburn.

On Golden Pond may be a modest work, but it has genuine merit. The film version brings the story to another level because of what Henry and Jane Fonda’s willingness to convey in their father-daughter roles and Katharine Hepburn’s strength of character. That all makes this pond worth reflecting on.

Norman & Ethel Thayer bid farewell to the loons, in 1981's "On Golden Pond."

Kate Hepburn, "The Philadelphia Story."

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Henry Fonda in"The Big Street."

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My toast to Claire Nixon!

Celeste Holm & Loretta Young are nuns on a mission in 1949's "Come to the Stable."

2oth Century Fox's feel-good comedy-drama Come to the Stable makes a perfect companion piece to star Loretta Young's 1947 Oscar-winning vehicle, The Farmer's Daughter. Young as an indomitable nun pairs well with Loretta's plucky Swedish maid. Both films are pure fairy tales, but smartly and sweetly done. Both movies mix humor, sentiment, and light drama expertly. And Young’s characters achieve great goals, against all odds. 

Celeste Holm & Loretta Young both have plenty of warmth and charm to portray the nuns who ingratiate others to their cause, in 1949's "Come to the Stable."

In 1949’s Come to the Stable, Loretta Young and Celeste Holm play nuns, Sisters Margaret and Scholastica, respectively. They have arrived from post-war France, where they worked in a hospital. Young's sister is originally from Chicago and Holm's nun is French. Their dream is to build a hospital in a small New England town of Bethlehem. They believe divine providence has brought them, due to seeing the work of a local religious painter, Miss Potts (Elsa Lanchester). Upon arrival, they share their plan and ask for shelter. She agrees and so begins the sisters' journey in seeking land and money to build a local hospital. Along their fundraising adventure, they meet and win over many colorful characters.

Elsa Lanchester plays Miss Potts, the local artist who joins the visiting nuns on their arduous journey to build a hospital, in 1949's "Come to the Stable."

What puts Come to the Stable over is a well-told story, adapted from Claire Luce Boothe’s tale. Famed for her acerbic play The Women, Boothe was a recent convert to Catholicism when she wrote Come to the Stable, inspired by the true story of two nuns who built an abbey in Bethlehem, Connecticut. The smooth screenplay was written by Oscar Millard and Sally Benson. Henry Koster, one of Fox's long-time studio directors, guides what could have been a cutesy or overly sentimental tale, with a sure touch. The sisters' story is filled with their leaps of faith and clearing the hurdles every time. Even with occasional setbacks, God has got their backs! While the coincidences and characters' change of hearts is pure Hollywood fairy tale, it is done with genuine intelligence and heart. You either suspend disbelief or avoid such movies. If this type of film is done with smarts and heart, I have no problem in going along for the movie ride!

Dooley Wilson as Anthony finds that the nuns portrayed by Celeste Holm & Loretta  Young have many talents, in 1949's "Come to the Stable."

Along with the imaginative storytelling, the stellar cast is the other major component that causes Come to the Stable to resonate with viewers. Loretta Young and Celeste Holm were both Oscar-nominated for their whole-hearted performances. While you might eye roll at two nuns in makeup, it's pretty subtle for a '40s movie. Young's unyielding strength as the lead nun comes through—Loretta wasn't nicknamed "The Iron Butterfly" for nothing. As one of Hollywood's most devout Catholics, this role was tailor-made for Young. Loretta plays with sincerity and subtle humor. Sister Margaret makes the most of each possible opportunity in her goal toward getting a hospital built, and Young conveys that effortlessly. She handles the serious moments naturally, to great effect. And Loretta has to be one of the most beautiful women ever to be depicted as a nun. Wearing a habit throughout, with only light makeup, and beautifully photographed, Young's face, with her huge expressive eyes, big smile, and bone structure, is a miracle in itself.

Loretta Young as Sister Margaret in 1949's "Come to the Stable." Aside from Young's  warmth and natural charm, I could stare at Loretta's natural beauty all day!

Celeste Holm as the French nun has droll humor in her line delivery as the ever-chipper Scholastica. One of her best bits is when she gives St. Jude coins to the bookies that she and Margaret visit in their mission in securing the perfect parcel of land. Later, when Scholastica displays a hidden talent for tennis, it’s one of the light-hearted highlights of the film. When she loses, despite her prowess, in trying to win funds, Holm's simple declaration of "I lost" to Young is so touching. 

Celeste Holm's line reading as Sister Scholastica, declaring that she lost the tennis  game is so sweet. I noticed that Holm & Young went light on the makeup, except in their big closeups! "Come to the Stable," 1949.

Hugh Marlowe plays a songwriter who lives across from the nuns’ dream location for their hospital. Marlowe, whose voice was perfect for radio, never became a top movie leading man. I first watched Hugh as ‘70s teen, playing patriarch Jim Matthews on the NBC soap, Another World. In his tenure at Fox, Marlowe did appear in some great movies, such as playwright Lloyd Richards in 1950’s All About Eve, where Holm played his supportive wife, Karen. Here, as Bob Masen, Marlowe's songwriter is basically a good guy. But he's tested when Masen finds out the hospital is to be built across the way from his dream pad. And until he sees the light, Bob is put out and peevish, with an entitled "not in my back yard" attitude. This is handled in a surprisingly realistic way. Dooley Wilson, of Casablanca fame, has a scene-stealing role as Bob's Man Friday, Anthony. Wilson also has the best line in the movie. When his boss comes back from Hollywood, he asks about a new nun milling about. Anthony replies, “Don’t know, boss. All the nuns look alike to me!”

Hugh Marlowe as the songwriter who's at odds with nuns Celeste Holm & Loretta Young in 1949's "Come to the Stable." Hugh & Celeste later played husband & wife in 1950's classic, "All About Eve."

Thomas Gomez as the bookie Luigi Rossi, a comic tough guy who carries a heavy heartache, is marvelous to watch. Regis Toomey as the patient Monsignor is well-written and played, and not condescending to the nun characters. Elsa Lanchester gets a chance to shine in a more fully dimensional version of her quirky screen persona, as the painter who becomes a champion in the nuns' crusade. As often the case with a cast of classic Hollywood contract players, everyone stands out right down to the bit players. Louis Heydt is Jim’s amused musician pal ‘Al Newman,’ an in-joke to this film’s music composer!

Thomas Gomez as bookie big dog Luigi Rossi is a standout in a great cast, in 1949's "Come to the Stable."

The sets and photography of this wintery New England town are stunning, and the music by Alfred Newman and Mack Gordon are really lovely—all receiving Oscar nominations in their categories. The spiritual music that permeates much of the movie is beautiful presented, as well.

Hugh Marlowe as songwriter Bob Masen sees the light that the nuns' mission for a hospital is more important than his "not in my backyard" entitlement, in 1949's "Come to the Stable."

Come to the Stable is a top-notch spiritual tale or fairy tale, take it as you like! The premise that faith—whatever kind you believe in—can help you achieve your dreams is a worthy premise for a movie.

The nuns find shelter in Elsa Lanchester's stable turned artist's studio home. I love quaint abodes in old movies like 1949's "Come to the Stable."

Loretta Young is "The Farmer's Daughter."

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Charming Kris Kringle (Edmund Gwenn) meets tough but cute customer Susan  (Natalie Wood) in 1947's classic comedy/drama "Miracle on 34th Street."

I only have dim memories of 1947’s Miracle on 34th Street from childhood. Apparently of the three channels we got back in the '70s, the station that showed afternoon movies on TV favored It's a Wonderful Life, at least twice a year!

While not miraculous, there were a number of pleasant surprises watching 1947 version of Miracle on 34th Street completely for the first time. First, it's not told strictly as a Christmas story, but as a character-driven story. This makes Miracle more grounded in reality and universal, and sets it apart from most Christmas-themed movies. That’s also how 20^th Century Fox studio head Darryl F. Zanuck wanted it released, feeling that it would be otherwise pigeon-holed as a genre movie. So, Miracle on 34^th Street was released in May, 1947. The film was a big box-office hit for the rest of the year, and a perennial classic ever after.

The post-war realism touches by director-screenwriter George Seaton are forward- thinking, in "Miracle on 34th Street." Maureen O'Hara's a divorced working mother  & John Payne is a lawyer who likes kids & isn't afraid to help in the kitchen!

There are two interwoven stories in Miracle on 34^th Street. One is about a little girl who doesn’t believe in Santa Claus. The other is about a man who believes that he is indeed Kris Kringle. As the two stories become interwoven, the little girl comes to believe in Kris and Mr. Kringle eventually prevails, in court no less, that he is indeed Santa Claus.

One of the most touching moments of 1947's "Miracle on 34th Street" is when the little Dutch war orphan (Marlene Lyden) wants to talk to Santa.

Filming began in late 1946 for Miracle on 34^th Street, by director George Seaton, and post-WWII sensibilities infuse this movie, thanks to the writers. Seaton won best screenplay writing Oscar for his take on the story; Valentine Davies won an Oscar for his best original story. First off, Maureen O' Hara plays divorced mother Doris Walker, which raised censors’ eyebrows. It would have been much easier to make Doris a war widow, right? While there were more marriages and a baby boom, there were more divorces after WWII, too. Doris’ little girl, Susan, isn’t a sugary sweet cinema tyke, but a bit of a tough little cookie. O’Hara’s maid is played straight and with no stereotyped humor. When Kris Kringle befriends a shy, chubby teen named Alfred, who finds joy in becoming Santa, I got a distinct gay vibe from this gentle loner. While Miracle could have ignored referencing the recent war, there’s a war orphan who insists on visiting Santa at Macy’s, and it’s one of the film’s most touching scenes. The characters feel more like real people and not movie stereotypes.

Alvin Greenman as Alfred, the shy janitor who gets great joy out of playing Santa Claus, in 1947's "Miracle on 34th Street."

Adding to the realism was a generous amount of location shooting for the era. Miracle on 34^th Street opens with Edmund Gwenn’s Kris Kringle walking down Madison Avenue. Macy’s famous Thanksgiving Parade was extensively shot, with Gwenn’s Santa looking right at home! There are several scenes at the real Macy’s flagship store. Best of all, Susan’s dream home was real, and still stands in Port Washington, Long Island.

Edmund Gwenn as Kris Kringle in Macy's actual 1946 Thanksgiving Parade for 1947's "Miracle on 34th Street."

Edmund Gwenn won the Best Supporting Actor Oscar as Kris Kringle, after his cousin Cecil Kellaway turned it down. I’m glad, because Cecil could be very cutesy in lovable roles—see Guess Who's Coming To Dinner? Gwenn plays with good cheer, real warmth, but also with matter of fact common sensibility. His Kris Kringle is probably my favorite film Santa!

Edmund Gwenn, perfectly cast as Kris Kringle, in 1947's "Miracle on 34th Street."

Maureen O’Hara is lovely, intelligent, and spirited as always, so this leading lady role fits her like a glove. She’s a working woman here, and a modern mother, too. Yet, O’Hara softens at the prospect of saving Gwenn’s Santa by the last act. O’Hara always holds her own in a man’s world—in this case, Macy’s!—but she never loses her womanliness. By the end of the movie, you’re rooting for her Macy’s promoter to merge with lawyer Payne.

Maureen O'Hara made a no-nonsense leading lady and looked great doing so! As Macy's events coordinator Doris Walker, in 1947's "Miracle on 34th Street."

John Payne is lawyer/neighbor Fred Gailey, who is attracted to Macy's event coordinator/ PR person, Doris Walker, played by O'Hara. He gets through her little girl Susan to get to her. These days that might seem dicey, but they were more innocent times. He's taken by the young daughter, who has been taught to be realistic. I prefer John Payne when he was in his young, good-natured leading man era, rather than his later worn-out tough guy. Payne has a good rapport with young Natalie Wood and John had played well opposite O’Hara in another crowd pleaser, Sentimental Journey. Seaton writes a fun post-war leading man role that’s free of posturing. A guy who’s comfortable with kids, Santa, and even puts on an apron and helps in the kitchen! 

Maureen O'Hara's divorced mom is wise to being set up by neighbor John Payne and her own daughter, in 1947's "Miracle on the 34th Street."

Although I adore Natalie Wood, I never sought out her Miracle on 34^th Street. I guess I preferred her as a sensitive and sultry adult! Much like Elizabeth Taylor, whose star-making turn, National Velvet, I’ve only seen once. I’ve not seen much of Wood’s work as a child actress, but as the pragmatic kid who longs for a home of her own, Nat is a standout here. Her reaction to the war orphan talking to Santa in Dutch is so intensely expressive. Wood works well with the three adult stars and she more than holds her own—in fact, she’s quite the scene-stealer!

Natalie Wood is memorable as Susan Walker, the modern girl who doesn't believe in Santa Claus, in 1947's "Miracle on 34th Street."

The great supporting cast includes: Phillip Tonge as Julian Shellhammer, head of Macy’s toy department; Porter Hall makes a great comic villain as Macy’s personal man who fancies himself a psychiatrist; Gene Lockhart (June’s dad!) is an amusing wishy-washy judge; William Frawley comes on in the last act as a political con man; and Jerome Cowan’s funny as the frustrated district attorney.

With just one uncredited scene in 1947's "Miracle on 34th Street," Thelma Ritter  scored with audiences & 20th Century Fox, and became a star character actress.

Enjoy some familiar faces amid the many uncredited players in Miracle on 34^th Street. The most famous is Thelma Ritter. As the harried mother looking for the right gift for her boy, she's astounded when Santa sends her to Gimbels. That distinctive face and voice in that one scene led her to a contract at 20^th Century Fox, where she went on to become a beloved character actress, winning six Oscar supporting actress nominations. 

Young Jack Albertson, right, as the postal worker who has a win-win idea, in 1947's  "Miracle on 34th Street." Jack later starred in "Chico and the Man."

That guy in the postal mail room who gets the wise idea to send all the letters to Santa to the court room at the climactic scene is Jack Albertson, later famed for Chico and the Man. Character actor and acting coach Jeff Corey is one of the reporters. Future sitcom and Disney fixture Percy Helton is Macy’s drunk Santa. The entire cast is aces, right down to Robert Gist, as the store window dresser who gets pestered by Kris Kringle about his arrangement of toy reindeer!

Natalie Wood's Susan doesn't believe Edmund Gwenn's Kris Kringle or his beard is real, in 1947's "Miracle on 34th Street."

There have been a slew of remakes of Miracle on 34^th Street, mostly for television. Nearly all demonstrate in their lacking of what the original did so well. All the plastic mugging by those actresses playing little Susan are the common flaw, showing why Natalie Wood's serious yet wryly skeptical performance was so remarkable. The Fox TV '55 remake stars Thomas Mitchell, beloved character actor—Scarlett's Pa! George Bailey's Uncle Billy! Here, as Kris Kringle, Mitchell is on autopilot. MacDonald Carey is all voice, as usual, Teresa Wright is solid but lacking O’Hara’s spark, and pinch-faced little Sandy Descher mugs as usual.

There was a more elaborate TV version in '59, with Ed Wynn mugging insufferably as Kris Kringle. In the '70s, there was Sebastian Cabot—Family Affair's Mr. French—playing Kris Kringle as truly crazy. Cabot is stuck with stiffs like David Hartman and Jane Alexander, who look and act like refugees from an aspirin commercial. Suzanne Davidson is completely false as Susan. A great 70’s supporting cast plays cartoonishly, and this version has that drab early ‘70’s look.

Santa Claus wins! Stick with the original and best version of "Miracle on 34th Street."

There was one big screen 1994 version of Miracle on 34^th Street, produced by John Hughes that was unmemorable, as well. Stick to the more realistic and truly magical 1947 version of Miracle.

Little Susan Walker has a common post-WWII dream, to have a home of her own, in 1947's "Miracle on 34th Street." This home still stands today!

My take on "Sitting Pretty!"

Here’s another fine Fox comedy with Maureen O’Hara, Sitting Pretty. Maureen contends with Mr. Belvedere here, not Kris Kringle! My look:

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