Michael Ontkean and Kate Jackson play a married couple dealing with the ramifications of the husband’s newly discovered homosexual behavior. Right off, I’ll say these two seem too happy from the beginning to make the sudden turn believable. Also, the ending [SPOILER ALERT, kind of] is too predictable and cliche to be the least little bit effective. The “I’m okay/You’re okay” resolution, where everyone moves on and everyone’s okay with who they are, and the world is once more a wonderful place, is pure Grade-A drivel …hat simply got by with it at the time because it was one of the first movies to deal so openly with such a controversial topic.
With that said, the film’s flaws really have nothing to do with its handling of the subject matter. Instead, it goes down – in flames – at the hands of two actors, who haven’t learned a thing since they nabbed their first roles. Kate Jackson’s wife is supposed to be a career woman, but she never stops whining and self-indulging into her own feelings long enough to step off your nerves and convince you she’s any more than a cry-baby trophy wife. Harry Hamlin secured his rightful place in Lifetime movie hell with performances such as this one, where he’s so convinced he’s charming that all he really accomplishes is making the viewer want to punch him right in the mouth. As two-thirds of the triangle (Ontkean is actually quite good as the husband), the film was dead in the water, and nothing Arthur Hiller’s direction could do was able to save it.
Presented in an anamorphic 1.85:1 transfer, the film boasts rich color execution. Blacks go just deep enough to look impressive on the end of contrast. Lighting is also a credit I will give to Hiller’s crew. Unfortunately, the film is just a beautifully wrapped box with a package of socks and underwear inside.
The 2.0 track leans more to dialogue than anything else. Background noise is kept to a minimum, as is base, while the musical score soars above expectations. It’s a talky film, and I suppose there’s no better track suited for such fare.
The disc sports only a few trailers, including one for the main feature. Such a disappointment, considering Harry Hamlin and Kate Jackson were almost certainly available for commentaries.
Making Love certainly doesn’t do much dancing around the gay issue, but it’s guts are supplanted by two terrible performances from Hamlin and Jackson. And while the A/V presentation is above average, the lack of bonus materials does nothing to further the film’s cause.
Special Features List
- Theatrical Trailers