Too much of everything

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

One of the best movies of the year! Incredible from the beginning to the end.

Produced and directed by Gilbert Cates, and written by Robert Anderson, this above average drama features a Best Supporting Actor nominated performance by Gene Hackman and a Best Actor nominated performance by Melvyn Douglas. Given the fact that Hackman's character is in virtually every scene, and indeed may have gotten more screen time than Douglas, the studio's submission and, subsequently, the Academy's recognitions are curious categorically. Anderson's screenplay also received a nomination. Though the film's plot may have had a larger impact at the time, it still packs a punch as the story of a man trying to connect with his aging, difficult father, who had no role model for such in his own life.Gene Garrison (Hackman) is a teacher and a writer who's father Tom (Douglas, who made a habit of playing dysfunctional fathers towards the end of his long career) still treats him like a kid, instructing him in the most basic things including giving him directions from the airport to their house. Gene is also a widower, his wife having passed a year earlier, who's found a new life across the coast in California with a woman doctor his folks have yet to meet. His mother, Margaret (Dorothy Stickney), encourages Gene to marry her and move away from his bitter memories of their town, those of his departed wife and his cantankerous father. She tolerates her husband's increasingly selfish ways even though she herself is weakened by a heart condition. She also maintains the relationship with their daughter Alice (Estelle Parsons), whom her husband had thrown out after telling her not to marry the man she had chosen. So the Garrisons only see their two grandchildren a couple of times a year because Alice and her family live in Chicago.Even though Gene feels estranged from his father, he feels guilty leaving him. He was once a great man in the community, a successful businessman that was later Mayor and even headed the Board of Education. He's upset that his father is now forgotten in the town that he served for so many years, even though his own accomplishments are ignored and/or belittled by Tom when he's with him. After these humiliating experiences, he seeks refuge with Norma (Lovelady Powell), a woman who listens to his ranting after she welcomes him to her bed. Instead of feeling guilty for "cheating" on his fiancée, he's too focused on his anger towards his father, who was so detached from his own wife's final hours that he insisted on taking his son to a Rotary meeting while she lay in a hospital oxygen tent. Conrad Bain plays their Reverend. After his mother dies, Gene and their family doctor (Daniel Keyes) visit the depressing reality of a couple of old age facilities, one private (headed by James Karen) and one public (headed by Gene Williams). Plus, Alice returns and the aforementioned storyline is revealed, and played out again. His sister also tries to convince him to pursue his life with his new love Dr. Peggy Thayer (two time Daytime Emmy winner Elizabeth Hubbard), who comes to visit as well.So, Gene must decide whether to stay and care for his father in the house of his youth, or leave to start his anew. The film's most powerful moment occurs in Tom's bedroom as father and son finally connect and then revisit the painful truths of their unresolved relationship.

Watchable character study in the O'Neill vein though lacking a deeper resonance.The screenplay offers some emotionally captivating moments, though the plot development is much too telegraphed throughout. The dramatic situations work in themselves, but they're slightly too easy, too fabricated. The marvellous acting rings true and elevates the whole scenario.What a shame, then, that the heavy-handed direction tends to over-emphasize the characters' inner turmoils by way of obtrusive scoring, freeze frames, camera movements and the likes.Still worth a look for the Douglas-Hackman sparring alone.6 out of 10 gruesome nursing homes

as are the performances of Gene Hackman and Melvyn Douglas, who portray an alienated father and son, brought together after the death of Hackman's wife, and as his father is becoming in need of more medical assistance and attention.Anyone who has taken care of an elderly parent may be heartbroken by the performances in this film, as I was. Melvyn Douglas is at once critical, angry and resentful of his son, yet still hopes for his love, in the end. Gene Hackman is torn, whether to sacrifice his life, and ultimately feel better, having done the "right thing" or to marry his new fiancée.Estelle Parsons is always affecting, as she advises Hackman to "live his own life- why bother..." Therein lies the dilemma; people have to sort through issues like this everyday- there are no concrete answers. Highly recommended. 9/10

This is the kind of movie that really makes you think about the people that you love. It also makes you think about the fact that time is inevitable, and thorough communication about the things we feel should hold the highest priority over anything else.Excellent script and the actors are brilliant. Everyone should see this movie!