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Harry & Son

Harry & Son

Drama · 1984

Widower Harry Keach is a construction worker who was raised to appreciate the importance of working for a living. He takes a dim view of his sensitive son Howard's lackadaisical lifestyle and has a strained relationship with his daughter Nina as he does not approve of her husband. When Harry is fired from his job, his life changes drastically as he is made to focus on the relationships around him.

Movie details

Harry & Son

“Two men with nothing in common... except the blood in their veins.”

1984 Drama 1h 57m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

Widower Harry Keach is a construction worker who was raised to appreciate the importance of working for a living. He takes a dim view of his sensitive son Howard's lackadaisical lifestyle and has a strained relationship with his daughter Nina as he does not approve of her husband. When Harry is fired from his job, his life changes drastically as he is made to focus on the relationships around him.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Harry & Son?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Paul Newman

Written by

Paul Newman · Ronald Buck

Paul Newman

Paul Newman

Harry Keach

Robby Benson

Robby Benson

Howard Keach

Ellen Barkin

Ellen Barkin

Katie Wilowski

Wilford Brimley

Wilford Brimley

Tom Keach

Judith Ivey

Judith Ivey

Sally

Ossie Davis

Ossie Davis

Raymond

Morgan Freeman

Morgan Freeman

Siemanowski

Court is in session

Put Harry & Son on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.