Title: WHERE THE BOYS ARE
Year of Release: 1984Director: Hy Averback
Genre: Comedy, Romance
Synopsis: Three young women take their spring break in Fort Lauderdale, Florida, in search of love and excitement.
Within a film history context: Sex comedies released in the 1980s were a common fixture on cinema screens during the decade, with an array of themes and topics explored in this time period. These were a mixture of films with adult protagonists, and others with teen characters. One of the first was Gilbert Cates' THE LAST MARRIED COUPLE IN AMERICA (1980). The study of a middle-aged couple's marriage, and the influence on the couple of outside unions, gave Natalie Wood and George Segal great roles as the central duo. A teen-oriented spin on the genre was provided by THE HOLLYWOOD KNIGHTS (1980), directed by Floyd Mutrux. The adventures of a car club consisting of teenagers during an evening in 1965 was reminiscent of AMERICAN GRAFFITI, but with nudity and sexual situations not present in the latter movie. In retrospect, THE HOLLYWOOD KNIGHTS is mainly notable for the appearances of up and coming actors such as Michelle Pfeiffer, Tony Danza, and Fran Drescher. Joseph Ruben's GORP (1980) was in a similar vein. The antics of teenagers in a Jewish summer camp made up the content of this picture, also with a cast of now-familiar faces such as Dennis Quaid, Rosanna Arquette, and, once again, Fran Drescher. Adultery, on the other hand, was the crux of LOVING COUPLES (1980), directed by Jack Smight. In this movie, a couple cheat on each other with people who are connected, with comic results.
Within a film history context: Sex comedies released in the 1980s were a common fixture on cinema screens during the decade, with an array of themes and topics explored in this time period. These were a mixture of films with adult protagonists, and others with teen characters. One of the first was Gilbert Cates' THE LAST MARRIED COUPLE IN AMERICA (1980). The study of a middle-aged couple's marriage, and the influence on the couple of outside unions, gave Natalie Wood and George Segal great roles as the central duo. A teen-oriented spin on the genre was provided by THE HOLLYWOOD KNIGHTS (1980), directed by Floyd Mutrux. The adventures of a car club consisting of teenagers during an evening in 1965 was reminiscent of AMERICAN GRAFFITI, but with nudity and sexual situations not present in the latter movie. In retrospect, THE HOLLYWOOD KNIGHTS is mainly notable for the appearances of up and coming actors such as Michelle Pfeiffer, Tony Danza, and Fran Drescher. Joseph Ruben's GORP (1980) was in a similar vein. The antics of teenagers in a Jewish summer camp made up the content of this picture, also with a cast of now-familiar faces such as Dennis Quaid, Rosanna Arquette, and, once again, Fran Drescher. Adultery, on the other hand, was the crux of LOVING COUPLES (1980), directed by Jack Smight. In this movie, a couple cheat on each other with people who are connected, with comic results.
One of the most recognized, if infamous, sex comedies of the 1980s was Bob Clark's PORKY'S (1981). This tale of high school students in 1954 Florida, highlighting their sexual exploits, and the shenanigans of the eponymous club, was a tremendous box-office success, if critically derided, and led to two sequels. Equally saucy in tone was PRIVATE LESSONS (1981), directed by Alan Myerson. The story of a tryst between a young man and his family's maid was high on sexual content, but made a great profit to its producers on this basis. Blake Edwards's S.O.B. (1981) revolved around a Hollywood film producer who has just made his first flop, and how he tries to rescue both the movie, and his reputation, by turning the picture into a soft-core production. With SO FINE (1981), directed by Andrew Bergman, a man in dire financial straits develops a style of jeans that become a sensation - pants with the buttock area exposed. In comparison, Richard Brander's MALIBU HOT SUMMER (1981) examined the sexual, and other activities of three young women co-renting a Malibu beach house. The movie is mainly of interest historically as Kevin Costner's film debut. Another film with three female protagonists was WAITRESS! (1981), directed by Lloyd Kaufman and Michael Herz. In this movie, three young women become involved in all manner of raucous incidents, such as battling amorous customers and crazy cooks. Charlie Loventhal's THE FIRST TIME (1981) was about a young film student pursued by young women only too ready to offer themselves to him, but having to put up with his wacky film professor at the same time.
Taking a leaf out of MALIBU HOT SUMMER was THE BEACH GIRLS (1982), directed by Bud Townsend. Two college friends visit their demure friend who is living at her uncle's beach house, and effectively take it over, hosting wild parties and the like, the quiet young lady eventually letting her hair down. Alternately, Bruce Paltrow's A LITTLE SEX (1982) had a young Lothario almost ruin his marriage with his womanizing antics, in this comedy romance. Shades of PORKY'S were evident in THE LAST AMERICAN VIRGIN (1982), directed by Boaz Davidson. A trio of male high-school student indulge in sexual antics with the usual exploits and female nudity thrown in, but with some serious moments interspersed. Akin to this, but with a much more humorous slant was Robert Rosenthal's ZAPPED! (1982). A high school student discovers he possesses telekinetic powers, and uses these to not only exact revenge on some bullies, but also for erotic stunts. FAST TIMES AT RIDGEMONT HIGH (1982), directed by Amy Heckerling, was about the mis-adventures, specifically of the sexual kind, of high school students in a California high school. Notable for making stars of many of its performers, it grossed a healthy profit for its studio. 1983 had a number of films in the sex comedy genre which explored varied themes and topics.
Sean S. Cunningham's SPRING BREAK (1983) focused upon two young men who go to Florida for their spring break, with associated episodes of comedy, sex, and topless female nudity. Raunchy nostalgia was again on display in SCREWBALLS (1983), directed by Rafal Zielinski. Set in the 1960s, this film was concerned with the antics of several high school students obsessed with a local beauty, and led to two sequels. A definite period atmosphere was evoked by Gerry O'Hara's FANNY HILL (1983). Set in 1700s Britain, a young woman moves from one bed to another seeking not only carnal pleasure but also, happiness in this erotic comedy. A sex comedy that rang the box office bell was RISKY BUSINESS (1983), directed by Paul Brickman. A young prospective college candidate holds a wild party while his parents are absent, but not everything turns out the way he expected in this insightful movie. Less edifying was Michael Herz and Lloyd Kaufman's THE FIRST TURN-ON! (1983). This movie followed the racy happenings at a summer camp, with lots of sexual content and nudity as per this genre's general tone. More serious was THE MAN WHO LOVED WOMEN (1983), directed by Blake Edwards. A sculptor finds that his need to have women in his life leads him to therapy, and subsequently falls for his doctor. This was a quieter, more subtle addition to the genre, and gave its cast, headed by Burt Reynolds in the lead role, good opportunities to emote.
Curtis Hanson's LOSIN' IT (1983) once again traversed through nostalgia territory, with four young men in 1965 determined to rid themselves of their virginity, and undertaking the usual exploits these movies followed. Mainly notable for its cast including Tom Cruise, Jackie Earle Haley and Shelley Long, it was a loss-maker for MGM. Another sojourn into teenage frolics was served by JOYSTICKS (1983), directed by Greydon Clark. The move to close a video arcade in a small town by a businessman elicits anger in its patrons, and they retaliate in a non-violent, but comic manner. As with PRIVATE LESSONS, the older woman/younger man concept was again on show in Lewis John Carlino's CLASS (1983). A sensitive young man studying in preparatory school becomes friendly with a fellow student, who encourages him to find himself. Going to Chicago, he meets an older woman, and begins an affair, but is rocked when he discovers her real identity. MY TUTOR (1983), directed by George Bowers, was another film in the older woman/younger man context. In this instance, a wealthy man employs an attractive tutor for his son, who needs to pass French class to enter university. As with PRIVATE LESSONS and CLASS, the film follows the same formula of an irresistible older woman seducing an eager younger man, with obstacles and misunderstandings placed in their way. WHERE THE BOYS ARE had some elements in common with the sex comedy genre, but diverted in other ways.
The movie's structure was akin to entries such as MALIBU HOT SUMMER, WAITRESS! and THE BEACH GIRLS, in that the lives of several young women were examined, but WHERE THE BOYS ARE veered away was in the tone of the movie, and its treatment of sexual content. While the three movies mentioned here largely traded in female nudity and sex scenes, in WHERE THE BOYS ARE these were of a more muted nature. The protagonists of WHERE THE BOYS ARE do talk about sex, but the film in essence is geared more toward romance than sex. There is one bedroom scene in the movie, and no nudity in this sequence, as it is more dialogue-oriented than showcasing sex. The concentration on romance makes WHERE THE BOYS ARE a more mature, but dreamy version of the films with harder content. There are other differences when WHERE THE BOYS ARE is compared to other films in the genre.
WHERE THE BOYS ARE is slightly alike SPRING BREAK in some areas. In the case of SPRING BREAK, several young men head to Fort Lauderdale, Florida, for their spring vacation, getting into all sorts of scrapes, as do the young women in WHERE THE BOYS ARE. The showcasing of actors in skimpy swimwear or in a state of undress is where both films also coincide. As a matter of fact, WHERE THE BOYS ARE only contains one sequence of topless female nudity, while SPRING BREAK has many more scenes of these. WHERE THE BOYS ARE has a focus on characterization among the mischief which sets it apart from SPRING BREAK. There is one example of this which is of interest in the movie. The characters' predilection toward music also gives WHERE THE BOYS ARE a spirit lacking from all the other movies in this category. WHERE THE BOYS ARE has a character who is a classical pianist, his friendly romantic rival also involved in music, which is something that works not only in an aural sense but also, does not seem out of place in the movie. Having one suitor win his true love over his rival through music is something that brings a smile to the face, and provides the film with a charm and delicacy lacking in the other entries. An entertaining addition to the sex comedy genre, WHERE THE BOYS ARE is a pleasant film to watch.
Overview: Hy Averback was the director of six motion pictures over his eighteen year career, being more active in television series and telemovies. His films are mainly comedic in approach, with the exception of his inaugural movie. CHAMBER OF HORRORS (1966) was a horror picture about a psychopath with one hand who murders a woman, and is sought by police, seeking to exact revenge on anyone who wants him apprehended. In comparison, comedy was the focus of WHERE WERE YOU WHEN THE LIGHTS WENT OUT? (1968). The story of a woman and her husband during the New York City blackout of 1965, it was a vehicle for Doris Day, but also showcased Robert Morse, Terry-Thomas, and Patrick O'Neal in support. Mr Averback followed this movie with the hip I LOVE YOU, ALICE B. TOKLAS! (1968). An attorney, through a wacky series of events falls for a hippie, leaving his fiancée, and taking on the hippie life, with comic results. THE GREAT BANK ROBBERY (1969) was Hy Averback's next project, a comic western about a scheme to rob a bank in Texas. Comedy again reigned in Mr Averback's penultimate film, SUPPOSE THEY GAVE A WAR AND NOBODY CAME (1970). It concerns a community dance, and how the residents in a small town react to the employees of an army base. As Hy Averback's final movie, WHERE THE BOYS ARE had the same sense of way-out humor common in his comedy films, but with some differences.
Hy Averback has made a picture which is entertaining overall, with some revealing moments that are most unexpected. A movie about four young women who make the trek for spring break in Fort Lauderdale has been handled with an emphasis on the comedic and romantic elements, making WHERE THE BOYS ARE a fun cinematic ride. The romance between studious Jennie Cooper and enterprising Scott Nash, who the young women pick up on the side of the road, is the film's highlight, and best love story. There is also a nice love triangle with pianist Camden Roxbury, who is Jennie's musical idol. This love triangle also has a great twist, with rivals Scott and Camden connecting in a scene which gives the film a subtle sweetness that works. Sandra's romance with married policeman Ernie is where the film's pathos comes to the fore, given emotional weight by the fact that only Sandra does not find love at the movie's end. While there are some great moments in WHERE THE BOYS ARE, there are also weaknesses which do not assist it.
In trying to be outrageous, WHERE THE BOYS ARE does stumble in the taste department. Having the young ladies smoke drugs does take away from their dignity, which subtracts from the movie. The related scene of them with a male blow-up doll is one of the film's most protracted, unfunny sequences. It takes too long, and does nothing to give more insight into the characters. All it does is waste valuable time that could have been utilized for other, more revealing scenes. In a similar manner, the party gatecrashing is another segment that could have been abbreviated. It begins in an amusing manner, but goes downhill fast. Thankfully the hot bod contest at the beach does not take as long to unravel, has some humorous moments, and is not as demeaning as the previously-mentioned scenes. In saying this, though, one of the faults of WHERE THE BOYS ARE is that it showcases scenes that should have been shorter, to the detriment of richer insights into characters. Several examples come to mind.
The romances of Carole and Laurie are not given enough scope in WHERE THE BOYS ARE. Why exactly Carole was tired of her boyfriend, and the reasons she needed a break from him, were not sufficiently explored. Their bed scene in the beginning threw some light about their relationship, but was inadequate. In addition, Laurie setting her sights on 'Conan', and the accompanying fallout from this was handled in a cheesy manner. Laurie's subsequent hooking up with Camden was not presented sufficiently to the audience to comprehend why they were to be a couple; it was a case of just accept it, and move on. The story of Sandra and policeman Ernie, in hindsight, was also problematic. Their romance had a big build-up with the scene where Ernie prosecutes both Sandra and Laurie, where they spend a night in jail, but the middle section was uneventful. One of the film's most telling moments is where Sandra discovers that Ernie cannot leave his wife and family, but this is a little too late in coming. In summation, certain things can be said about WHERE THE BOYS ARE. Although it has some positive qualities, the lack of depth in much of the storytelling renders it uneven, which is unfortunate, as its breezy atmosphere lends it an enjoyable, if sometimes mindless, air.
Acting: WHERE THE BOYS ARE has a number of notable acting contributions which aid the film considerably. In the lead role of Jennie Cooper, Lisa Hartman has a relaxed, radiant screen presence, making it understandable how two men would compete for her affections in the movie. As Scott Nash, the hitchhiker Jennie and the other women pick up on their way to Fort Lauderdale, Russell Todd does a fine job as the handsome, ambitious young man whose heart belongs to Jennie. An actor whose gifts in romantic roles were not adequately presented in film, but delivered beautifully here, Mr Todd is well-matched with Lisa Hartman, their chemistry palpable. As the third party in this love triangle, Daniel McDonald is great as Camden Roxbury, the pianist who appears haughty on first impressions, but with a poignancy which makes his character rounded. On the other hand, Lynn-Holly Johnson, as Laurie, was not used in a suitable manner in WHERE THE BOYS ARE. An actress with spirit and spice has been wasted in stories that are trite in their execution, and does not allow Miss Johnson to stretch her acting muscles in the film. Similarly, Lorna Luft, an actress with a sense of comedy and timing, is also wasted in the movie as Carole. Just having her as the zany young woman undervalues her abilities, which is a shame. There are several other players whose acting deserves attention.
Howard McGillin, as Chip, Carole's boyfriend, has some good moments as her confused other half, which gives the film credence. His authority and sincerity emanate in a small role. As Maggie, Alana Stewart's role in the film is not fully fleshed out. The companion of Barbara, and confidant to Chip, she has a number of interesting scenes, but these arrive too late in the film. Louise Sorel, as Barbara Roxbury, is entertaining as Camden's mother, and Maggie's friend. An actress recognized for her humorous, and dramatic portrayal of aristocratic Augusta Lockridge on television soap opera Santa Barbara, here she is comfortable playing a character of comparable mien, with her deadpan one-liners a treat. As Southern Belle Sandra, Wendy Schaal steals scenes as the flirty, man-hungry woman who ends up in an unexpected romantic quandary with a police officer. In the final performance of note, Asher Brauner is perfect as Officer Ernie Gasso, Sandra's unrequited conquest. Seeming ever inch a policeman in his uniform, playing his role with a laconic charm and lack of histrionics, Mr Brauner gives a natural performance that makes his character's predicament all the more shattering, and real, in the movie.
Soundtrack: WHERE THE BOYS ARE has an eclectic rock music soundtrack that complements what is taking place onscreen. There are instances where the music played is part of the diegetic world, such as in the mansion gatecrashing scene, and in the nightclub sequence. The most notable piece in WHERE THE BOYS ARE is 'Jennie', which is performed in the segment where Camden plays it on the piano as a classical piece, and is pre-empted by Scott in a more modern, high-tech rendition.
Mise-en-scene: The film has a good mixture of both indoor, and outdoor sequences. There are copious location scenes such as the beach hot bod contest, the mansion party gatecrashing by speed boats, and Jennie and Scott's time on the beach, that no studio could reproduce. Interiors such as the crazy hotel at which the young women stay, and Barbara's elegant mansion, to name two, are all appropriate to the story. The cinematography by James Contner is crisp, and at its best when capturing beach settings and the exteriors of Barbara's mansion, and its riverside canal.
Notable Acting Performances: Lisa Hartman, Russell Todd, Daniel MacDonald, Howard McGillin, Louise Sorel, Wendy Schaal, Asher Brauner.
Notable Acting Performances: Lisa Hartman, Russell Todd, Daniel MacDonald, Howard McGillin, Louise Sorel, Wendy Schaal, Asher Brauner.
Suitability for young viewers: No. Infrequent coarse language, brief female nudity, adult themes.
Overall Grade: C
Link: IMDB Page
Trailer
