ryansternmd The concept of pairing a heterosexual police detective (Ryan O'Niel) with a gay police department employee (John Hurt) in order to go undercover in the gay community to solve a serial murder case could have been handled with mutual respect. However, throughout the film, the homosexuals portrayed fulfill all homophobic stereotypes. They are depicted as lisping, limp wristed, mincing, pastel wearing comic relief. Meanwhile, the heterosexual police detective is portrayed as a womanizing, promiscuous, skirt chaser to convince the audience that he is 100% heterosexual. All dialog between heterosexual police department employees is homophobic, sympathetic to the undercover detective having to pretend to be a "faggot" and derogatory about the "faggot" gay police department employee. They had three opportunities to save the film. The first is when the undercover police partners are arrested along with a gay they attracted in order to interview. The arresting police refer to the trio as "faggots" and "girls", humiliating the gay character. But, Ryan O'Neil's character does no more than ask for the return of the man's clothes: no personal interaction occurs. In a humorous moment, on his way out of the shared apartment with the doting homosexual partner, Ryan O'Neil instinctively gives a quick peck on his partner's cheek. But, Ryan O'Neil's subsequent reaction is disgust. Near the end of the film, Ryan O'Neil's character is trying to encourage his gay partner (John Hurt) by making empty promises of continuing to live together. But, instead of a "The Crying Game" finding of a new found acceptance by the heterosexual lead of his gay love interest, they end the film by having another character taunt Ryan O'Neil's character by telling him that John Hurt's character had believed his empty promises which immediately causes revulsion in Ryan O'Neil's character. They walk away laughing at the expense of the deceived gay man. This is not a gay positive, acceptance learned dynamic by the main characters. This motion picture is one long "faggots are funny" mockery of gay men. If you are gay friendly, this film will infuriate you and have you checking the year it was released (1982) for some clue as to why the studio would release a homophobic film. We tolerated this homophobia in films released before 1969-1973 because of the philosophy of the general audience. But, for 1982, a homophobic "let's make a comedy about a good looking heterosexual man forced to spend time with faggots!" was not a politically correct decision. Why not make a film about a white cop forced to work with a black cop? They would not have done that: white supremacist dialog mixed with denigrative Black stereotypes would have outraged the audience. But, for this studio, screenwriter, director, producer and cast, "faggots are funny" was their objective. This film will only appeal to people who long for the 'good old days' when gays and lesbians were suppressed and legally humiliated.

copfl well this movie, with a gay theme, like with all early gay theme movies has to start out somewhere, as their was little to give a historical basis to, other than cruising. we start out with Ryan Oneal when he was at the zenith of being a hot-tie, loved him dressed up with blue jeans, tank top, work boots, and those hot Gray wool boots socks. john hurt played a wimpy clerk/ cop ? , i'll have to watch this again. James re mar, famous for his role in the cult gang movie ' the warriors' plays his 2nd gay character m the 1st being in the movie cruising in his under wear, he was a true hot-tie in his day. this was at the beginning of gay self awakening, big screen, main stream movies. it was a good matinée flick in it's day.

hokeybutt PARTNERS (3+ outta 5 stars) Very funny movie... I guess you could basically call it the situation comedy version of "Cruising". In the Al Pacino role of the reluctant undercover cop who has to pretend to be gay is Ryan O'Neal. He is teamed up with Kerwin, an actual gay man (John Hurt) who will help them gain legitimacy as they move into LA's gay community to search for a killer. O'Neal does a nice, light comedy job (and even gets to show off some naked tush) but Hurt really gives this movie some heart as it becomes more and more obvious that he is starting to have tender feelings for his hetero partner. For the life of me I can't understand how people have gotten the idea that this is an ANTI-gay movie? Sure, some the attitudes towards homosexuals and the jokes directed at them are offensive at times... but the movie makes it clear that the people making those remarks are in the wrong! The film's sympathies are definitely with Hurt and not with the gay-bashing cops and their snide comments. As a police story or a mystery the movie is only so-so... but as a smile-inducing buddy movie it hits the bullseye. Scripted and produced by Francis Veber, who created "La Cage Aux Folles" and many other similarly-themed movies in France. The direction might be a little crude and uninspired, but the movie's heart is in the right place.

Rrrobert Eccentric misfire comedy about a macho cop teamed with a meek desk-bound police officer and sent undercover as a gay couple to find the murderer of gay male models. O'Neal's subsequent appearance in full leathers while Hurt's character fusses around the apartment in pink T-shirt and cargo pants provides endless mirth.Fans of O'Neal's manly physique will not be disappointed, but the coy jokes built on his character's awkwardness at being thrust into the gay scene are weak, puerile, and are not very funny. The murder mystery aspect of the plot is the best thing about the film but it is constantly undermined by the film's habit of switching back into comedy mode whenever the suspense starts the build. And then as if that isn't bad enough, they slot in some cute and thoughtful scenes just to show us that O'Neal's character really is a caring guy after all. Then, despite the fact we have already met his girlfriend, he is straight to bed with whatever woman happens to cross his path.The general story is also quite sloppy. Characters are introduced to the audience, and then they disappear having fulfilled no greater function than to be the butt of some unfunny joke. Characters such as the effeminate motel owner, Benson's original girlfriend, and the caftan-wearing landlord are given big introductions and then disappear.What is amazing is that this "snigger at the gays" comedy was produced in 1982! (Australian TV soap operas like 'Number 96', 'The Box', 'Prisoner' had been filled with positive gay and lesbian characters in the *preceding* decade.) It seems more like something from the sixties. Not even interesting as a historical artifact. Avoid.