When released 24 years ago, critics dismissed this as a "mawkish soaper" and it was shunned at the box office due to its "controversial" subject matter. In reality, it is a well scripted, well acted, and more than competently directed film. Quite the opposite of a melodrama, Jackson, Ontkean, and Hamlin turn in subtle and richly textured performances. The screenplay is equally satisfying: tugging at your heartstrings without being overly sentimental or maudlin.
Ontkean is "Zack" Elliott, a handsome young physician who has spent his life thus far as a compassionate and dedicated doctor, husband, and son. In all of his commitment to "do the right thing" he has been suppressing the fact that he is indeed gay. Because of his stalwart ethics, he comes to the realization that he can no longer deceive his devoted wife. Ontkean shines as a man who is overcome with internal turmoil, yet through the love for his wife, is determined to do what is best for her (more so than even himself).
The precepts of self-sacrifice, honesty, and integrity in the Ontkean and Jackson characters is much of the appeal of the story. Jackson is convincing as Claire Elliott, the wife who, despite her initial feelings of anger and betrayal, experiences acceptance, understanding, and ultimately, unconditional love. An especially touching moment comes in the final scene when, despite her best efforts to be super human, she subtly reveals her sense of loss after a brief reunion with Zack.
Hamlin is Bart, the openly gay, randy, self-involved West Hollywood habitué and Zack's first same-sex encounter. Through narration and in his intimate dialog with Zack, he, too, exposes his humanity, need for acceptance, and sense of loss at the foregone opportunity of a serious relationship with Zack. This is a surprisingly underrated landmark film in that it serves as a rare bridge between the pre-80's depiction of gay men as mincing, self-loathing social misfits and the heavy-handed political correctness of the marginalized "queer cinema" to follow. In contrast to today's movies, there is a near absence of trendy fashions, catch-phrases, soundtrack, and banal preachy social conceits of the moment. That's what sets this apart as an enduring film.
Ontkean is "Zack" Elliott, a handsome young physician who has spent his life thus far as a compassionate and dedicated doctor, husband, and son. In all of his commitment to "do the right thing" he has been suppressing the fact that he is indeed gay. Because of his stalwart ethics, he comes to the realization that he can no longer deceive his devoted wife. Ontkean shines as a man who is overcome with internal turmoil, yet through the love for his wife, is determined to do what is best for her (more so than even himself).
The precepts of self-sacrifice, honesty, and integrity in the Ontkean and Jackson characters is much of the appeal of the story. Jackson is convincing as Claire Elliott, the wife who, despite her initial feelings of anger and betrayal, experiences acceptance, understanding, and ultimately, unconditional love. An especially touching moment comes in the final scene when, despite her best efforts to be super human, she subtly reveals her sense of loss after a brief reunion with Zack.
Hamlin is Bart, the openly gay, randy, self-involved West Hollywood habitué and Zack's first same-sex encounter. Through narration and in his intimate dialog with Zack, he, too, exposes his humanity, need for acceptance, and sense of loss at the foregone opportunity of a serious relationship with Zack. This is a surprisingly underrated landmark film in that it serves as a rare bridge between the pre-80's depiction of gay men as mincing, self-loathing social misfits and the heavy-handed political correctness of the marginalized "queer cinema" to follow. In contrast to today's movies, there is a near absence of trendy fashions, catch-phrases, soundtrack, and banal preachy social conceits of the moment. That's what sets this apart as an enduring film.