The baby-faced young doctor, Zack, shares with his wife of eight years an uncommon affinity for Gilbert and Sullivan and Rupert Brooke. Where could he ever hope to find such another? Nowhere, probably, and certainly not with the beefy-faced homosexual writer, Bart, whose idea of a cultural evening is to plug in a video cassette of a Montgomery Clift movie and munch a bowl of popcorn (and whose college education, incidentally, like that of the homosexual murder suspect in Cruising, was gotten at Columbia University, evidently, in Hollywood's mind, a haven for this sexual minority). But there are "mysteries" about Zack's sense of identity which he can no longer deny and must delve into. Part of the reason he is compelled to do so, according to the way the plot is laid out, would seem to be his disturbance over a female patient's emotionally messy and maritally disruptive mastectomy — one problem, at least, from which a male homosexual couple would have immunity. The movie's provocative position on Zack's change of sexual orientation is that such a thing is quite all right, as long as everyone concerned is handsome, successful, and ultimately happy. With Michael Ontkean, Kate Jackson, and Harry Hamlin; directed by Arthur Hiller. (1982) — Duncan Shepherd
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