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Harry and Tonto

Harry and Tonto

Adventure · Comedy · Drama · 1974

Harry Coombes is a retired teacher in his 70s who has lived in the Upper West Side of New York City all his life. When his building is torn down to make way for a parking garage, Harry and his beloved cat Tonto begin a journey across the United States — visiting his children, seeing a world he never seemed to have the time to see before, making new friends, and saying goodbye to old friends.

Movie details

Harry and Tonto

“Get a lift.”

1974 Adventure · Comedy · Drama 1h 55m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

Harry Coombes is a retired teacher in his 70s who has lived in the Upper West Side of New York City all his life. When his building is torn down to make way for a parking garage, Harry and his beloved cat Tonto begin a journey across the United States — visiting his children, seeing a world he never seemed to have the time to see before, making new friends, and saying goodbye to old friends.

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 and Tonto?

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 Mazursky

Written by

Paul Mazursky · Josh Greenfeld

Art Carney

Art Carney

Harry

Ellen Burstyn

Ellen Burstyn

Shirley

Geraldine Fitzgerald

Geraldine Fitzgerald

Jessie

Chief Dan George

Chief Dan George

Sam Two Feathers

Larry Hagman

Larry Hagman

Eddie

Philip Bruns

Philip Bruns

Burt

Herbert Berghof

Herbert Berghof

Rivetowski

Court is in session

Put Harry and Tonto on trial.

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

The defence The Sentimental Softie

“Sincerity is not manipulation.”

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

The prosecution The Cool Ironist

“The strings are showing.”

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