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I like the storyline of this show,it attract me so much

best movie i've ever seen.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

The acting in this movie is really good.

Films directed by popular actors are often (though by no means always) the pits. Alas, "Harry & Son" is no exception. Paul Newman directed six movies, of which this is the fifth. Actors tend to concentrate on their own performances (number one), on the playing of other members of the cast (number two), on the script itself (a distant three), but on the camera-work and visual aspects, not at all! This approach often makes for dull and self-centered viewing -- great for their rabid fans, but dull for everyone else. "Harry & Son" consists of little more than a dreary succession of close-ups. The story is slack and uninteresting. The pace is dead slow. Technical qualities are minor. Music, photography and art direction are totally undistinguished.Admittedly, director Newman does occasionally try hard to speed things up, but he's defeated by the hammy, camera-hogging antics of the rest of the cast. The hazily developed and totally uninteresting story- line doesn't help either. Mind you, things do look promising on two ore three occasions, but Newman manages to muff these up too. Generally, the pace is slow and boring. Some say this is realistic, but I thought the characters and situations were straight out of fantasy land. For instance, at one stage, the hero, who claims to be a writer, receives a check from a magazine for an unsolicited contribution. Come off it! Who's kidding who? I've worked on dozens of magazines in my time and I can assure you that unsolicited contributions are not read by anyone. They go straight into the garbage bin, unless signed by a well-known name or presented personally to the editor. Anyway, the film just meanders on and on and on, with no conclusion in sight, until Newman presumably ran out of money.

I was never a fan of Paul Newman, but every once in a while he impressed me. On the other hand, I was (growing up) always a fan of Robbie Benson, and here -- again -- he does not disappoint.What does disappoint is the film, in general. It has quite a few good ingredients, including Newman and Benson, and certain segments are pretty interesting and decently done. Unfortunately, the separate parts of the film never quite come together as a whole.Harry is a construction worker who is having vision and neck problems, resulting in a near industrial accident that could heave been deadly; he gets fired. Looks for work, can't find any. Robbie Benson is his son who thinks he's a writer but actually details cars; he could work, but he thinks what's available is beneath him.Benson's best scene is when he and his ex-girlfriend are trying to "figure out" what happened. It's as good as any acting Benson ever did, though this is not my favorite Benson movie.The problem is that this film just sorta drifts along seemingly going nowhere. It's rather episodic, but the episodes don't seem to really fit together. The second problem is that a viewer wants to have some general idea of where a film is going...even if he or she ends up wrong. Well, here you just wonder where this film is wandering to. At least it isn't maudlin.Unfortunately, some of the highlights of the film are small supporting parts played by Ossie Davis and Morgan Freeman. Ellen Barki, Joanne Woodward, and Wilford Brimley have small, but significant roles. But the film really belongs to Paul Newman and Robby Benson, and I think more to Benson.

While I thought the movie was good, I had a very hard time with the scene in which Harry's daughter visits. Harry was so unbelievably cruel to his daughter in this scene, that I really wish I hadn't seen it. It actually depressed me for days.Harry's daughter visits Harry and his son with her husband and newborn daughter. Her husband, a life insurance salesman, shockingly tries to sell Harry life insurance, which Harry takes great offense at. The daughter then very nicely asks if she could possibly take her dead mother's china if Harry and his son aren't using it.Okay, so maybe this was a bit insensitive, but it struck me that the daughter seemed like a very hard worker with a full time job and a new baby and, maybe, just maybe it was really tough for her without her mother and that's why she wanted the china.Harry says that she can have the china, but then he maliciously wets the bottom of the box he gives her to carry it in. The china then falls out and breaks in a million pieces. The daughter then sees that the bottom of the box is wet, and she becomes very hurt and angry. She then exits with husband and screaming newborn.Harry finds this funny. I did not.My mother died when I was four, and I must confess that I have always wanted her china as well. It has sat in the china cabinet since her death, one of the few relatively unchanged items since. There are many times when I have missed having a mother and perhaps illogically have associated the china too strongly with her presence.Perhaps wanting the china is materialistic, but it seems inhuman on a Father's part to not understand why his daughter might want something from her mother.I really had a hard time caring about Harry after that scene.

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.