Overview
In the landscape of 1980s cinema, the buddy cop comedy genre flourished, often pairing mismatched personalities for humorous and action-packed adventures. Partners, released in 1982, attempted to add a layer of progressiveness to this formula by featuring a gay character as one half of the central duo. However, while aiming for groundbreaking territory, the film, directed by James Burrows and written by Francis Veber, ultimately falls short of delivering a truly radical or well-crafted cinematic experience. Upon closer examination, Partners 1982 reveals itself as a film more reliant on clichés than genuine comedic or insightful storytelling.
Synopsis: Undercover in the 80s
The narrative of Partners 1982 kicks off with a familiar premise: a police department under pressure. Chief Wilkins, portrayed by Kenneth McMillan, faces criticism for failing to solve the murder of a gay man. In response, he devises an unconventional pairing: Detective Sergeant Benson (Ryan O’Neal), embodying the stereotypical macho cop, is assigned to go undercover with Kerwin (John Hurt), a desk officer who represents the equally clichéd effeminate gay man. This unlikely duo is thrust into an investigation, tasked with uncovering clues related to the murder case.
As expected in such buddy comedies, the film follows Benson and Kerwin as they navigate their forced partnership. Benson’s journey is marked by displays of homophobia, often expressed through derogatory remarks and a hyper-focus on heterosexual encounters. Conversely, Kerwin is depicted in a domestic role, seemingly content with cooking and managing household tasks for both men. The film’s plot progresses as they bond, after a fashion, while attempting to solve the central mystery. For viewers familiar with similar themes, particularly in films exploring LGBTQ+ representation of the era, Partners 1982 may feel reminiscent of titles like Cruising, but with the added dynamic of a “gay sidekick.”
Analyzing “Partners 1982”: A Critical Look
One of the significant shortcomings of Partners 1982 lies in its comedic execution. Ironically, moments intended to be dramatic inadvertently elicit more laughter than scenes explicitly designed for humor. This highlights a fundamental flaw in the film’s tonal balance. What is presented as a comedy often veers into unintentional drama, while the central mystery plot struggles to maintain audience engagement, potentially inducing the same level of disinterest as a lengthy, tedious read.
However, it’s important to note that Partners 1982 avoids the overtly homophobic pitfalls of some of its contemporaries, such as Cruising. Nor does it descend into the realm of films considered painfully awkward, like Another Gay Movie. Instead, Partners occupies a middle ground, sharing similarities with films like I Now Pronounce You Chuck and Larry. It presents itself as potentially progressive, especially when viewed through the lens of cinematic history. Yet, this perceived progressiveness is tempered by the film’s reliance on stereotypes and its failure to offer a genuinely nuanced portrayal of its characters or themes. Notably absent is the kind of gratuitously offensive content, such as the Adam Sandler scene mentioned in the original review in a different film context, which further distinguishes Partners from more overtly problematic comedies.
Examining John Hurt’s portrayal of Kerwin reveals further issues. The character is notably devoid of any explicit romantic or relationship history with other men, a peculiar omission given his age and identity. Furthermore, Kerwin’s passivity in the face of Benson’s homophobic slurs raises concerns. His consistent lack of self-defense in these situations contributes to a dynamic that feels less like a partnership and more akin to an abusive or subservient relationship, where Kerwin operates more as Benson’s dependent than an equal counterpart.
The film’s climax, where Kerwin heroically saves Benson from the killer, sustaining a gunshot wound in the process, presents a mixed message. While Kerwin’s act of heroism is a departure from complete passivity, it also evokes outdated tropes of punishing or sacrificing LGBTQ+ characters. Despite Kerwin surviving, this narrative choice feels anachronistic, particularly considering the dismantling of the Hays Code well before the 1980s. The ending, therefore, underscores the film’s limited progressiveness, highlighting missed opportunities for more meaningful and contemporary representation.
Recommendation: To Watch or Not to Watch?
If Partners 1982 is suggested as a viewing option, it may not be a relationship deal-breaker. However, it warrants thoughtful consideration. For audiences seeking genuinely progressive or sharply comedic films with LGBTQ+ characters, more contemporary or critically acclaimed options are readily available. Partners 1982 serves as an interesting artifact of its time, illustrating early, albeit flawed, attempts to incorporate gay characters into mainstream buddy comedies. Its value lies more in its historical context than in its entertainment or artistic merit.
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