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

WHERE THE BOYS ARE (1984)

Title: WHERE THE BOYS ARE

Year of Release: 1984

Director: 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. 

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.

Suitability for young viewers: No. Infrequent coarse language, brief female nudity, adult themes.

Overall Grade: C

Link: IMDB Page

Trailer