Vincent Canby, in an unfavorable review, called the movie "a second-rate spin-off from 'The Boys in the Band,'" with "hammy performances and a sentimental screenplay that sounds as if it had just been let out after 30 years in a closet"
When most of the characters in a movie are as full of dopey sentiments, as well as of self-hatred and of self-exploitation, as the movie that contains them, it's almost impossible to differentiate between an intentional second-rateness and serious moviemaking of no great quality. It's impossible, that is, until it becomes obvious that Mervyn Nelson, who both wrote the screenplay and directed the film, shares with his characters not only a large amount of boozy self-pity, but also the sort of romanticism that permits characters to define themselves—without irony—in the clichés of old-fashioned Hollywood soap opera. **** Better performances might possibly have given some life to such lines and situations, but under Mr. Nelson's solemn direction, they sound like parodies of real emotions.[1]
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