MAKING LOVE (1982)

Title: MAKING LOVE

Year of Release: 1982

Director: Arthur Hiller

Genre: Drama

Synopsis: A Los Angeles doctor leaves his television producer wife for his patient, a man.

Within a film history context: Movies about a husband who is gay, but married to a woman, began to appear from the late 1960s in cinema with the gradual relaxation of film censorship. One of the first major examples was Gregory Ratoff's OSCAR WILDE (1960). When playwright Oscar Wilde launches a suit against his male lover's father, his homosexuality becomes public knowledge, despite being married to a woman in this drama. INSIDE DAISY CLOVER (1965), directed by Robert Mulligan, contained the small part of a gay husband who leaves his movie star wife. John Huston's REFLECTIONS IN A GOLDEN EYE (1967), was another look at a gay husband. A married Major residing at a military post with his adulterous wife has a clandestine passion for a Private, but his feelings may, or may not be reciprocated here. A gay husband, and father, has his private life exposed, his daughter finding this reality hard to accept, in ANGEL, ANGEL, DOWN WE GO (1969), directed by Robert Thom. 

In Ken Russell's THE MUSIC LOVERS (1971), the life of Russian composer Pyotr Ilyich Tchaikovsky was dissected, with his shaky marriage to a mentally unstable woman, and his desire for a Count, prominently featured. THE LAST PICTURE SHOW (1971), directed by Peter Bogdanovich, had a married high school basketball coach who in one scene was implied as being gay. One of the segments in Herbert Ross' CALIFORNIA SUITE (1978), was of a British married couple staying at a Grand Hotel, and how the husband's homosexuality caused issues for them. With Michael Caine, and Maggie Smith as the couple, it was a convincing portrait of marital discord. On the other hand, A DIFFERENT STORY (1978), directed by Paul Aaron, was about a gay man, and a lesbian, finding love, and marrying, but their problems are many. MAKING LOVE was the most intensive study of a gay husband until its time.

In the majority of the movies with a gay husband protagonist, he was the central character, aside from INSIDE DAISY CLOVER, THE LAST PICTURE SHOW, and ANGEL, ANGEL, DOWN WE GO. These were supporting characters where the focus was on the wife of the gay husband. Additionally, these were discreet depictions of homosexuality rather than overt. Coach Popper in THE LAST PICTURE SHOW, for example, is shown striking the backside of a basketball player, which speaks volumes without showing anything further. The focus was on wife Ruth Popper's loneliness, and mental issues, which have been caused by her husband's lack of attention to her. The husband in CALIFORNIA SUITE had a larger role here, but was part of a segment in the movie, rather than standalone. MAKING LOVE had the closest affinity to A DIFFERENT STORY in examining its gay husband, but the latter film differed from the former as Albert was established as being gay from the beginning of the film. He later goes through a transition from gay to heterosexual, marrying a lesbian, and having an affair with a woman, rather than a man, before returning to his wife. 

Matters are different in MAKING LOVE for its gay husband character. MAKING LOVE's Zack takes matters in the opposite direction to Albert from A DIFFERENT STORY. Being married to a woman, Zack is seemingly happy as a heterosexual man, but his desires for men make themselves felt. He has an affair with a gay man, and this spells the end of his marriage. Both of these films take the time to look at the psychology of their gay lead, but MAKING LOVE is of interest as it contrasts Zack with his out in the open lover Bart. Bart has a substantial place in the narrative of MAKING LOVE, unlike the lovers of Albert, Sills and Roger, in A DIFFERENT STORY, whose presence is ephemeral. Albert is the center of attention in A DIFFERENT STORY, and how he makes a go of his marriage to Stella, where Zack's affair with Bart, split with Claire, and later relationship with Brian, are what drive MAKING LOVE. 

In addition, of interest is how both A DIIFERENT STORY, and MAKING LOVE, feature career women as characters. Other films in the category had wives with mental issues, such as in THE LAST PICTURE SHOW, and THE MUSIC LOVERS. MAKING LOVE has the best view of a woman in this respect by presenting her as a person fully in charge of her emotions, but the fact that her husband is gay makes the audience empathize with her. She is not spineless, and finds a way to change her life to what she wanted with her first husband Zack, but with a new husband. In this way, the movie lacks the melodramatic views of a woman prone to weakness, instead offering a portrait of a woman who takes charge of her destiny. This is a progressive, heartening view of femininity that should be applauded. An honest, credible view of a gay husband, MAKING LOVE is a meaningful take on the subject.

Overview: Arthur Hiller was a Canadian director long in Hollywood who made thirty-four films over the space of forty-nine years. His output was varied, consisting of comedies, dramas, romance, action, and biographical movies. Mr Hiller's first picture, THE CARELESS YEARS (1957), was a romance about two young people from different economic backgrounds who want to marry, but encounter obstacles in their mission. Arthur Hiller's profile began to rise with THE WHEELER DEALERS (1963). An educated man whose finances are in dire straits proceeds to New York City to make money, with a young woman he romances, and teams up with to make his dreams a reality. Next came THE AMERICANIZATION OF EMILY (1964). During World War II, an American Naval Commander's life changes when he meets an English woman, and is sent on a dangerous assignment by the Navy. 

In comedy PROMISE HER ANYTHING (1966), a young widow with a child wants to remarry, and determines to do so to a psychologist, but he has an aversion to children. She hides her child with a neighbor, but decides that he might be a better fit for her than the other man after all. Another comedy for Arthur Hiller came in the form of PENELOPE (1966). The various outrageous activities of a lady kleptomaniac were the focus, with Natalie Wood in the lead role. THE TIGER MAKES OUT (1967), was a vehicle for real-life couple Eli Wallach, and Anne Jackson. A postman in search of a mate kidnaps what we believes is a young woman, but this person escapes, and he instead has kidnapped a housewife who gives him more than a run for his money in this comedy. Arthur Hiller rounded out the 1960s with POPI (1969). A Puerto Rican man living in Harlem with his two sons schemes to carve out a better existence for them in a highly original manner. The 1970s was a time of varied movies for Arthur Hiller, with one in particular noteworthy in his oeuvre.

LOVE STORY (1970), was a tale of two young people from opposing backgrounds finding love, the vehement disapproval of the man's father the main obstacle. A blockbuster weepie of its time, it made both Ryan O'Neal, and Ali MacGraw as the central pair, stars. In complete contrast, comedy THE OUT OF TOWNERS (1970), surveyed the life of an Ohio sales executive and his wife moving to New York City for his job promotion, but finding that the Big Apple has its fair share of unexpected challenges. Comedy again was the focus of PLAZA SUITE (1971). Based upon a Neil Simon play, it featured Walter Matthau playing a different character in each of the three acts, with Lee Grant, Maureen Stapleton, and Barbara Harris in support. THE HOSPITAL (1971), was Arthur Hiller's attempt at comedy satire, with black humor. The personal, and professional trials and travails of a chief doctor at a training hospital were seen in great detail here, with George C. Scott in the lead role, accompanied by Diana Rigg, Barnard Hughes, and Richard Dysart. In THE CRAZY WORLD OF JULIUS VROODER (1974), a Vietnam War veteran is admitted to a mental health facility, also living in a bunker, and causes problems at the hospital in this comedy, with Timothy Bottoms in good form as the eponymous Julius.

In the mid-1970s came THE MAN IN THE GLASS BOOTH (1975). It was the story of a Jewish-American man accused of being a Nazi War criminal, who is then kidnapped by Mossad, with the tragic fallout of this documented. The biopic of W.C. Fields was next on the agenda for Arthur Hiller in W.C. FIELDS AND ME (1976). The biopic of the famous comic actor was not critically well-received, despite having Rod Steiger in the lead part. There was a return to form for the director with SILVER STREAK (1976). When a man on a train believes he has witnessed the murder of a man, he is drawn into a twisted series of events which place his life in peril. One of the biggest financial successes of the year, it starred Gene Wilder, Richard Pryor, and Jill Clayburgh as the central trio of characters. NIGHTWING (1979), was as different as one could get from comedy. The horror tale of killer bats in a New Mexico Indian reservation, and their assorted murderous inclinations, was a departure from Arthur Hiller's usually thoughtful fare, and a box office loss maker. Into the 1980s, Arthur Hiller made equally diverse movies.

It was back to comedy with AUTHOR! AUTHOR! (1982). The hijinks of a playwright coping with his offspring, stepchildren, and simultaneously producing a Broadway play, made up the content of this breezy film. ROMANTIC COMEDY (1983), mined similar material as AUTHOR! AUTHOR! This time, two playwrights' success on the stage with their writing does not translate to their private life. THE LONELY GUY (1984), was yet another comedy for Arthur Hiller. When a man is cheated on by his girlfriend, this leads him on a personal discovery about women and relationships, and writing a book on the topic which is a bestseller. In the case of TEACHERS (1984), the hardships of a high school teacher attempting to assist his students, with adamant opposition to his methods from the school board, are outlined in this comedy-drama starring Nick Nolte, with backup from JoBeth Williams, Lee Grant, Judd Hirsch, and Ralph Macchio. Another box office hit came with OUTRAGEOUS FORTUNE (1987). The meeting of two actresses with more in common than first thought, being a man, and the adventure their search for him leads them on, complete with espionage, was a comic vehicle for Shelley Long, and Bette Midler as the two women in question. Next was another comedy, SEE NO EVIL, HEAR NO EVIL (1989). When the murder of a man is witnessed by two men, one blind, the other deaf, they find themselves in an untenable situation as the new target of the killer. Into the 1990s and beyond, Arthur Hiller's films mainly followed a comic line.

TAKING CARE OF BUSINESS (1990), had a businessman on vacation who loses his Filofax, which is found by a criminal, and subsequently has his world turned upside down when the impostor takes on his identity. In MARRIED TO IT (1991), the lives of three couples who meet through a private school fundraiser are contrasted, with their various ups, and downs, highlighted. In contrast, THE BABE (1992), was the biopic of famous American baseball star Babe Ruth, played by John Goodman. This film was not a financial success, and also suffered from critical derision at the time of its release. CARPOOL (1996), detailed the wacky antics of a man who does the carpool for the neighborhood, and becomes caught in some dire situations in this financially unsuccessful comedy. Arthur Hiller's second to last movie, AN ALAN SMITHEE FILM: BURN HOLLYWOOD BURN (1997), was about a film director's struggle to disown a picture he made. The reason why this is so hard for him to accomplish, being that to do this, he has to use Alan Smithee, which already is his name. A movie which sank rapidly into obscurity, it recorded very low results at the box office. NATIONAL LAMPOON'S PUCKED (2006), was Arthur Hiller's last cinematic sojourn. A lawyer's attempts to fund a women's hockey team lead him spiraling into debt, and into the courthouse, in this comedy with Jon Bon Jovi in the lead. MAKING LOVE was Arthur Hiller's twenty-first motion picture, and one of his most thoughtful works.

With MAKING LOVE, Arthur Hiller has crafted an affecting, realistic picture. It is the story of a married couple, with the husband a physician, the wife a television producer, and how his desire for a man comes to the surface, ending their marriage. MAKING LOVE is a movie with a contemplative mood, and a leisurely, nicely paced manner of exploring this issue, and its repercussions on the characters. The sensitive screenplay by Barry Sandler, and story by A. Scott Berg, is rooted on an emotional level, never pandering to prurience or exploitation, which would have been the case if it was in lesser hands. MAKING LOVE does not fall into the trap of showing naked bodies and the like, which very easily might have been the case otherwise, and would have been jarring to witness. There is a single scene of male-male contact, but even this is restrained in its delivery. This attention to detail takes the movie far away from sordidness, and into a realm of understanding for its protagonists. A balance of the points of view of not only the husband, but also his wife, and the husband's lover, exists in the film, which make perfect sense. The viewer feels for the people here, and this is particularly marked at the conclusion. The bittersweet, but satisfying ending recalls the tone of dramas from Classic Hollywood of the 1930s and 1940s, but updated to 1980s sensibilities. A telling work on homosexuality, heterosexuality, marriage, lifestyles, and personal happiness, MAKING LOVE stands tall as one of the best movies on these enduring human topics.

Acting: MAKING LOVE has stimulating performances which successfully propel the aims of the movie. In the lead role of Zack, a man of many emotions, Michael Ontkean does well. An actor with a friendly, guarded disposition, whose Zack could erupt at any moment, an emotional powder keg providing an element of volatility, is direct, and understandable in his actions. As the dynamic Claire, Zack's wife, Kate Jackson is excellent. Bringing all her feelings to the fore, with confusion, doubt, and self-blame just some of many exhibited by her, it is fair to say that her presence leaves the greatest imprint on the spectator. The central trio of characters is rounded out by Harry Hamlin as Bart, Zack's lover. With his low, husky voice, playful manner, and ability to both intrigue, and puzzle, the exotic Mr Hamlin supplies another distinctive portrayal. Four actors in supporting roles are also highly valuable in MAKING LOVE.

Claire and Zack's neighbor Winnie is memorable in the capable hands of Wendy Hiller. With her aristocratic but warm demeanor, and knowledge of people and the world, Miss Hiller adds spice and grandeur to the film. Zack's last partner, Brian, is given a sympathetic edge by John Calvin. An actor who generally plays athletes and jocks with huge chips on their shoulders here is more nuanced, and a contrast to the self-involved Bart. Asher Brauner has a small role as Ted, one of the men Zack encountered somewhere along the way. His jokey attitude conceals many emotions under a plain wrapper, and Mr Brauner conveys this with his customary ease. The last acting of note was by Terry Kiser as Alex, Claire's manager at the television network. A distinctive character actor able to express much without saying a word, his face doing much of the talking, Mr Kiser is another example of the finely-drawn acting tapestry of MAKING LOVE.

Soundtrack: MAKING LOVE has a lean soundtrack, and this works well in terms of allowing what is taking place on screen to stand out. The opening title sequence features a sweeping, beautiful instrumental piece composed by Leonard Rosenman, which aptly sets the pensive atmosphere for the movie. This is also employed sparingly in several other scenes, but most tellingly in the final scene. The closing credits showcase Roberta Flack's 'Making Love', which ends the picture on a thoughtful note.

Mise-en-scene: Great attention to detail has been expended on ensuring MAKING LOVE is a quality product. David M. Walsh's cinematography nicely captures both indoor, and outdoor scenes, the colour muted, but still easy on the eyes. Production design by James Vance, and Rick Simpson's set decoration, are notable. Interiors, such as Claire and Zack's former home, Winnie's apartment, and Bart's home are all excellent, reflecting not only a high socioeconomic level for the characters, but also, their respective personalities. Bart's abode, for example, has a bohemian vibe in keeping with his freewheeling lifestyle. There is a comfort, and warmth in these locations that is welcoming to viewers, and subtly luxurious. Location filming is also of a high standard, with the restaurant where Zack and Bart meet, lovely. Costuming, by Betsy Cox for the female characters, and Bruce Walkup for the male characters, is stylish, and has not dated. The wardrobe for Winnie in particular is glamorous but regal, befitting her status as the wise grande dame of MAKING LOVE.

Notable Acting Performances: Michael Ontkean, Kate Jackson, Harry Hamlin, Wendy Hiller, John Calvin, Asher Brauner, Terry Kiser.

Suitability for young viewers: No. Infrequent coarse language, adult themes, drug use.

Overall Grade: B

Link: IMDB Page

Trailer