User Reviews

The mostly unknown KOTCH is one of those pretty-good time fillers, but what it's known for is the different kind of collaboration between multi-screen-buds Jack Lemmon and title star Walter Matthau, who shares nice chemistry with Deborah Winters, an intense and lovely young blond-haired actress who makes a cozy odd couple, and here's what's on her mind about the production:

DEBORAH WINTERS: I went in and read for Jack Lemmon: this is the only picture that Jack directed. You know, actors don't usually end up liking to direct and the reason is it's extremely difficult to direct a picture. It's very, very hard work and the work begins before you're filming, and then of course during filming, and it's long after filming: doing all the editing and post-production...

It's too much work. They like to go in and memorize some dialog for the day's shoot... The make-up man and the hairdresser makes them up and makes them look good, and then they shoot for one day and they go home, and when the picture's over they relax.

It took Jack six years to get this film finally made... And I came in, of course, more on the tail end of it. Nobody would give him the money and he really loved the story and thought it should be made. So he kept working on it and working on it...

And it was something where I went in to audition and Jack felt I really understood "Erica Herzenstiel," and I was the one he wanted from the very beginning... It was a great compliment and I loved working with both of them. They were fantastic men, and characters, and very funny together.

I once read a comment by an old timer saying that he saw Matthau's character from The Fortune Cookie every time he saw Matthau act. It's a biased and uninformed opinion if I've ever seen one, and if nothing else, you can tell from watching Kotch that Matthau was a man of range.

In what is perhaps one of the first portrayals of an autist protagonist, Matthau plays a long-winded elderly man by the name of "Kotch" (I think his actual surname is Kotcher, as some characters call him "Mr. Kotcher," although, humorously, it sounds like a slur).

I say he's an autist because the man really has a talent for remembering minor technical details from this or that subject and prattling on about with celerity without much considering the interest of other people, or indeed, without being affected much by their disinterest.

Anyway, Kotch is employed as a sort of au pair for his grandson, living with his son and his wife. His loquacious and unsociable habits, however, drive his daughter-in-law up the wall and the embattled son decides it's time to discharge him of his duties.

Yes, it's another drama with an old man being shuffled around, but that's not really the meat of the plot. The actual interesting part comes when a young teenage babysitter is hired to supplement (or probably slowly replace) Kotch as caregiver, but she gets pregnant on the job and becomes a destitute single mother.

What as first is a side character who neglects Kotch as much as anyone else comes to hold a strong (asexual) fascination for the old man, and despite her consistent display of disinterest in him, he decides to help her through her ordeal as far as she'll allow herself to be helped.

The directing is spectacularly subtle. Kotch, the man who perhaps in his years of dotage has been seeing his emotions dull, experiences flashbacks to the time when he was like these young people, passing through the passions and milestones of a full and egocentric life and this contrasts with his thankfulness at still being able to be independent and yearning to be useful in some way to others. The young single mother, while in the midst of that egocentricity, always keeps old Kotcher at arm's length, and we only come to find after the fact that there was something of gratitude brimming under the surface. It's a bittersweet and unique dynamic that you'd be hard pressed to find anywhere else.

As I stated before, Matthau gives a adroit performance of a neglected ancient who seems to be on the brink of losing his sharpness, but can and wishes to still squeeze some meaning out of his life. A completely different character from the ones we've seen him play.

Honourable Mentions: Ikiru (1952) - A dying old man strikes up a romance for a day with a young woman and decides that the meaning of life is to be of service to his fellow man.

Wonderfully unpredictable movie, with fine direction and acting and nice film score. Lemmon should direct more often. Viewer never knows what is going to happen next, although expectation Matthau may die or get killed. Great movie on aging, uplifting and superbly directed, acted and written. A real "10."

In Kotch (1971), Walter Matthau plays the title character, Joseph P. Kotcher, a retired senior citizen, who finds out, that his family wants him to move to an old-folks home, so he sets out onto a road-trip to get away. He befriends a young, pregnant woman, who he helps navigate, the tough road to birth. Larry Linville, a year before MASH (1972-1983), in a brief performance, plays one of the pivotal characters in Kotch (1971). He is the brother (Peter) and guardian, of Deborah Winters', pregnant-teen character, Erica Herzenstiel. In order for Erica, while pregnant, to achieve certain financial benchmarks, that she needs in her life, she has to get Peter's approval. You know, important stuff, like medical bills and the rent, money, which Kotch lends to her, while he helps her learn how to breathe. Kotch (1971), was nominated for four Oscars, including the Best Actor Oscar for Matthau.

This film is obviously a star-vehicle for Matthau. It is definitely his show. All popular actors in Hollywood, get film projects, that are movies about one central character. Films, that are cast with those popular actors, along with a bunch of other secondary, less-popular, character actors. Probably the next popular actor in Kotch (1971), is Charles Aidman, who plays Kotch's son, Gerald. Some viewers may know Aidman, but no one under the age of 35 would know him. Aidman didn't do many movies, but you may recognize him from his extensive television career. Kotch (1971), was an interesting departure for Walter Matthau, compared to the more, normal type-of roles he does. It is a very subtle story with very subtle performances. The film needed more energy. There are moments in the film, that could accidentally, put some viewers to sleep.

Kotch (1971), is a light-hearted comedy-drama, in the fact, that it isn't a brutal, knock-down, type-of story. It doesn't try to hit you with huge comedy moments and it doesn't try to give you a downer of a drama. It's just a film about, mostly normal people, doing mostly normal things in life. It is a fitting story for director Jack Lemmon, who has acted in dozens of films like this. The music by Marvin Hamlisch, was also nominated for an Oscar. You can clearly tell its his soundtrack too. The 1970s feel of Kotch (1971), is great, especially with that classic, gritty 1970s film-stock. It has that classic subtle feeling of old Hollywood, combined with the strength of modern cinema, which was what 1970s cinema was all about. The dawn of modern cinema. I only wish the film had a faster pace and more energy.

PMTM Grade: 6.5 (C-) = 7 IMDB.

When this movie first came out I was in college and must have taken 4 or 5 different dates to see it. This movie was a mini cult phenomenon on campus, at least where I was, so I have always been surprised that it didn't get more publicity and acclaim. I saw it so many times because I felt it was a very worthwhile and meaningful film as a view into aging, the way we take care of elderly people, especially when it might be inconvenient for us. It was a good look into the feelings and hang-ups of people interacting among themselves: a retired man feeling increasingliy irrelevant in the environment he is compelled to live in, his spineless and uncomprehending son who doesn't offer much support at all, and his post-natal depressive daughter-in-law who can't understand why she has to put up with this codger who complicates her alreay-more-complicated life.

The movie also has a lot to say about the power of the human spirit to cope with change and make the best of things that aren't always going the way we always want them to.

I would like to see it again after 30+ years, but I can't find it at the usual rental stores. Having thought about it, though, I will continue to seek.

Bittersweet film directed by Jack Lemmon features real-life pal Walter Matthau as an unwanted old codger in Southern California who befriends an unmarried, pregnant teenager. The film makes points on several topics (retirement homes, married life in suburbia, the value of the elderly), yet it doesn't use this material to build momentum--and since the film isn't a satire, the humor (often condescending or sarcastic) comes off as smirking. Matthau does a very fine job--he even convinces us he's a baby lover!--but his relationship with the troubled girl doesn't ring true (worse, Matthau's pinched, icy daughter-in-law is a one-note caricature and nearly unbearable). At one point, Kotch goes on a road trip by bus and sends back lots of postcards to his son, but director Lemmon doesn't use this segment to bolster the plot (it's too sitcom-y with that silly music, like a geriatric version of "Midnight Cowboy"). Lemmon is careful not to flood the movie with teary sentiment; he's generally gracious and attentive, and many of his details are wonderfully wry, but overall the picture feels rather fatigued.

What a wonderful movie. For a change,Walter Matthau plays a sympathetic rather than a cantankerous character. He is just wonderful here in his Oscar nominated performance.

What makes the movie so good is that it doesn't really stress the attempt of his son and daughter-in-law to put him in a home and then show the misery of homes. Rather,it deals with the coming of life anew for Matthau when he takes a profound interest in the very pregnant babysitter for his grandson. What an interesting idea and it is so well developed.

Deborah Winters gives a fantastic supporting performance as the pregnant girl,orphaned, raised by an uncaring brother who finds meaning in her life when she aided by Kotch.

There is a totally winning song dealing with what you do with your life.

This film was definitely an under-rated gem. Too bad.

I had doubts about this movie the moment it started. I recorded it because it was rated highly in the TV listings and starred Matthau, who I always like, but during the opening credits' bucolic scenes of Matthau playing with a little boy to the movie's unutterably treacly score (the sort of thing you heard in TV movies of the 70s) I thought, oh god, what am I in for? Matthau's windbag character also instantly turned me off. So I came here to see what people thought, and saw one glowing review after another. And that inspired me to watch another hour before giving up.

Besides the truly abysmal score, Kotch suffers from a surfeit of annoying characters. Kotch himself is genial but tedious, his son is bland and his daughter-in-law plays the requisite bitch. The girl he eventually helps is about as annoying as the title character.

I can't figure out why people like this movie so much. I think it's a movie for people who like comforters with teddy bears quilted into them or something. It's simple-minded and just plain dull.

I had not seen Kotch for a long time before viewing my VHS copy today and I was really moved with how good it was. Too bad Jack Lemmon never wanted to try directing again. Maybe had the film won an Oscar or two, he could have been persuaded to try.

I think I finally figured out who Walter Matthau modeled his Oscar nominated performance on, it's Casey Stengel. Casey without the double-talk, but the same non-stop garrulousness that I remember from my youth.

But Casey had his captive audience of baseball writers and fans. Poor Joseph Kotcher is a retired salesman who lives with his son and his family. Though he's an excellent babysitter for his young grandson, he's generally underfoot according to his daughter-in-law Felicia Farr. Son Charles Aidman gently persuades him he ought to move into a retirement home.

But Matthau is just a lonely old man, looking for someone to bond with. He finds someone quite unlikely in the person of Deborah Winters, the new babysitter who finds herself pregnant by her boyfriend Darrell Larson. She moves in with him and not in a retirement home and they have some interesting experiences.

Matthau lost the Best Actor Award to Gene Hackman and Kotch similarly lost as Best Picture to The French Connection. Still I think this one has stood the test of time a lot better.

Marvin Hamlisch and Johnny Mercer wrote the song Life Is What You Make It for Kotch and it lost for Best Song to the Theme from Shaft. That one was truly unfortunate.

Kotch is a picture about the person who's your grandfather, old and a bit crotchety and some times a pain in the posterior as Deborah Winters says. But he's also the one with enough life experience to come through in the clutch.

Come to think of it, one of the things that drove Deborah crazy was his insistence on a car with an old fashioned clutch as opposed to automatic transmission.

I first saw this back in the late '70's on TV. We loved it in the family, great fun, heart and performances. Matthau's intrepid, smart if slightly 'out There' Kotch is a unique character, well acted, and always someone we root for. It's not much different from the roles he would go onto play in the 90s, but...done by a younger man.

Sometimes the makeup and haircoloring doesn't quite look convincing, but that's okay too. The performance is put across as much by body language and posture as anything else.

The car is a great added touch-the knocking engine and etc a counterpoint to Kotch's own creaky body.

I liked Ellen Geer as the crabby daughter too-was surprised that she wound up in 'Phenomenon' and several other flix(Patriot Games) that I have seen before. Never made the connection.

It is dated sure, but that is inevitable with films. It's worth yer time.

*** outta **** Nice job by Lemmon, too.

I saw this movie when I was a teenager. From what I remember of it, it was a waste of good talent. Walter Matthau did his best acting and Jack Lemmon did his best directing. However, somehow the script just didn't do justice for either one of these two celebrities. I've seen Deborah Winters in other movies and back then it seemed as though she gravitated towards controversial roles such as a 16-year old drug addict or pregnant teenager. I absolutely hate that song "Life Is What You Make It," because they played it throughout this entire movie over and over again; and seeing the pregnant teenage Deborah Winters and hearing Walter Matthau's New York accent as this unusually compassionate older man somehow reminded me constantly of how much I absolutely hate deadbeat teen fathers. I always got the feeling throughout the film that I just wanted a scene in which the teen father of this girl's baby got the tar knocked out of him for being such a jerk. I vaguely recall one scene in which he actually spoke with Deborah Winters after he had gotten her pregnant, but he was more annoying than anything. The kind of teen father that would create a precedent in our court system to make justifiable patricide perfectly legal for all youngsters who have the indignity of having someone like him for a biological father. By the way, I disagree with the title of that stupid song, "Life Is What You Make It." I can't believe that song even won an award. It's crass and callous in its lyrics, because some people are born more privileged than others in the real world and the lyrics of that song just don't own up to that same reality of life. If you have nothing better to do with your time, you may want to give this movie a peek. However, if you have limited time like me, it's probably not worth watching.

Jack Lemmon and Walter Matthau were one of cinema's most notable teams. They co-starred in a number of comedies over the years, always entertaining audiences. But there was also a time that Lemmon stepped behind the camera. The result was "Kotch", based on a book by Katharine Topkins. Matthau plays an elderly man in the LA area who feels useless in the changing world. His son and daughter-in-law consider him a nuisance, but he would rather not spend the rest of his life in a retirement home. But his life takes a new turn when he hooks up with a young pregnant woman.

We're used to seeing Matthau play curmudgeons, but here his character gets a new outlook on life. There's a scene towards the end that's a shocker (let's just say that Walter Matthau is the last person whom you'd picture doing that). All in all, a good movie. Not a masterpiece, but I still recommend it.

Jack Lemmon did an excellent job with this script and produced a very entertaining movie with an unforeseeable ending. Matthau is outstanding as usual and his fate keeps viewers in suspense until the end. I recommend it to young and old.

Joe Kotcher is a retired man who has a lot of time on his hands. This, and his love of talking, are driving his daughter-in-law crazy and she wants him to move out and into a nursing home...which is pretty sad as Joe is in good health and he loves caring for his young grandson. In other words, he's become, sadly, obsolete. After he's placed in a nursing home, he decides to leave and does. Much of the film is about his adventures as he travels to Seattle. Why Seattle? See the film. And what about his pregnant young friend?

This is a meandering little film about feeling needed...an important topic rarely dealt with in movies. While it's not for everyone, as Kotch is VERY talkative....but it's also a nice, sweet film that I enjoyed. Amazingly, despite being a good movie, director Jack Lemmon disliked directing so much he never tried it again...despite doing a good job. Oh, and despite Lemmon and Matthau, it's really NOT a comedy.

I had never seen Kotch, but had always wanted to because of the presence of Walter Matthau and because of Jack Lemmon as director. It finally showed up on TCM the other night and, after years of waiting, I sadly have to agree with the lone previous viewer who found it wretched. I hate to be, once again, the turd in the punchbowl of hosannas here, but there are no characters in this movie, only cardboard cutouts. Matthau (who I love) is simply not credible here as a man who needs to be put away; his off-the-wall performance never makes us believe he is anywhere close to senile. The opening scene, with its aforementioned treacly 70's score, is predictive of the dreck to come. The movie is never played for human drama but only for cheap laughs, and those are few and far between. In the end I did what I rarely do, i.e. said to myself "why I am torturing myself," shut it off, and put on a good Laurel and Hardy movie.