My review was written in November 1984 after a screening on Manhattan's UES.
"Just the Way You Are' is a glossy MGM romantic comedy featuring a fine cast, witty dialog and ggs by scripter Allan Burns but precious little in the way of a payoff to attract the paying customer. It's a shame, since pic is diverting in parts and sports a social conscience to boot.
Troubled production history (recalling an earlier MGM flop, "Brainstorm") had the film, titled "I Won't Dance", shut down midway through production (commencing Nov. 1, 1982 due to a "chemical imbalance" experienced by lead Kristy McNichol. Pic finally restarted in December 1983.
McNichol topline as Susan Berlange, a flautist with a ballet company orchestra in an unidentified U. S. city (actually Toronto-lensed) who is crippled, wearing a leg brace and highly self-conscious about her condition. She has a romantic fling with Sam (Robert Carradine, quite affecting in a brief, key role) who at first makes a play for her ballerina pal Lisa (Kaki Hunter, making the best with a part that calls for too many "flat chest" lines). Her gammy leg creates a problem (love vs. Pity) and Susan is glad to go on a European concert tour (30 minutes into the film), fleeing both Sam and her fiance, a gayboy stock broker (Timothy Daly), in a proposed marriage of convenience.
In France, she hits upon the clever notion of putting a cast on her leg to pose as a skiing casualty, rightly figuring that for once she will be accepted as normal, at a ski resort. There she falls in love with a handsome photographer Peter (Michael Ontkean) but is reminded constantly of her deception by the presence of a one-legged (car accident) ski magnate Francois (Andre Dussolier) who is romancing her French roommate Nicole (Catherine Savia). Contrived happy ending is an unconvincing letdown.
Film is wildly uneven, best in the early North American segment which includes several hilarious scenes making fun of the way society treats the handicapped (especially a pertinent one when McNichol and Hunter try waiting in line at a movie theater). Last hour in France is strong in travelog elements but weak on comedy or pathos.
Picture does serve to adequately move young star McNichol into screen adulthood, often resembling the 1969 Patty Duke classic "Me, Natalie" in both theme and format. Supporting cast is excellent, though male lead Ontkean emerges colorless after an array of tantalizing partnere for McNichol's affections precede him to the batter's box. Director Edouard Molinaro (best known for helming "La Cage aux Folles" and its sequel) maximizes the comic potential but has trouble pulling it all together. Tech credits are solid.
