Word: fondas
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Dates: during 1980-1989
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...have been there to introduce these two acting legends about to cross paths for the first time. "Alice Adams, meet Young Mr. Lincoln. Mary of Scotland, this is Wyatt Earp. Tracy Lord, Tom Joad. Tess Harding, Mister Roberts. Ethel Thayer, say hello to Norman Thayer Jr. Katharine Hepburn. . .Henry Fonda...
Olympians are entitled to their privacy, and these are two very private people. So Fonda was alone in the basement of a 20th Century-Fox sound stage in May 1980 when, as he recalls it, "Kate just came in, smiled, looked directly at me, and said, 'It's about time.' " On Golden Pond, which unites Hepburn, Fonda and his daughter Jane in a warm familial embrace, is also about time...
...time, 46 years, that has soldered Norman and Ethel Thayer to each other, with complementary quirks and habits, tolerance and humor, love and concern. The time it takes to bind wounds the generations can inflict on each other?Norman and his daughter, Henry and his Jane. The time Henry Fonda and Katharine Hepburn have taken to travel their separate roads to this special union. The time on the screen that displays the deceptively easy effects of two actors, two half-centuries committed to getting it right in the theater and the movies. It is about this time?now?when...
...77th year, Fonda has published his autobiography (with Howard Teichmann as his Boswell). Though disabled by serious heart disease, he still hopes to appear on Broadway next year as F.D.R.'s confidant Harry Hopkins. In her 75th year, Hepburn is magnetizing the attention of Philadelphia theatergoers in The West Side Waltz, prior to its Broadway opening next week. The play, written by On Golden Pond's Ernest Thompson, takes its own sweet three-quarter time to penetrate the twilight life of a Manhattan widow, but Hepburn triumphantly skirts sentimentality, displaying her radiance even as her character limps, hobbles and crawls...
Like Tracy and Fonda, Hepburn has little patience for actors who surrender to the tortuous introspection of the Method. "Spence and Hank felt the same way I do," she says. "The camera sees through the performance. We were brought up in the school that teaches: You do what the script tells you. Deliver the goods without comment. Live it?do it?or shut up. After all, the writer is what's important. If the script is good and you don't get in its way, it will come off O.K. I never discussed a script with Spence; we just...