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Cartoonist Gene Wilder's marriage to Christine Lahti falls apart after they fail to conceive a child, but they manage to get back together after Gene has lots of sex with a younger woman. Love might be funny, but this film is something else entirely. Sure, there are a few laughs, but not enough to make this poorly-structured, badly-directed film work. it's about time for Leonard Nimoy to ask Scotty to beam him up. By the way, the soundtrack sucked too.

Friend Leonard Nimoy directed Gene Wilder in his 1990 film, Funny About Love. Also starring Christine Lahti and Mary Stuart Masterson, this romantic comedy showed the struggle of the human need to reproduce and the struggles that come with infertility. Funny About Love is nothing spectacular but goes the distance in describing a difficulty felt by 1 in every 8 couples with some humor. Human life is full of decisions, just as it is changing our minds about those decisions, Funny About Love shows this inextricable part of human life through one New York City couple.

Duffy Bergman (Gene Wilder) is on top of the world in his field as a renowned political cartoonist. One night at a book signing he is hosting, he tastes some horrible cappuccino and since "coffee is very important to him" he decides he must meet the person responsible for the dreadful cup. When he is taken to her, he is instantly smitten with her beauty and attempts to get Meg (Christine Lahti) to agree to a date with him. Although initially reluctant, Meg is eventually won over by Duffy's lighthearted comedic disposition and agrees. The two eventually marry and decide, in spite of Duffy's reservations to have a child together. After three years of infertility treatment, Meg is dejected and sick of failure and wishes to stop trying to conceive. Never really getting over his uncertainties, Duffy was thrilled with Meg's decision. As Meg's culinary career kicks into overdrive during the respite from attempting to have a child, Duffy begins to actually want to have a baby. This time, it is Meg that is unsure and wants to wait to have a baby. The constant battle of when and if to have a baby proves to be too much for their marriage and the two separate. In their time apart, they both realize what they really want; but can they get what it is they want with each other?

Gene Wilder plays the quirky jokester of a cartoonist well, and Christine Lahti plays his lighthearted wife well. The two share a beautiful on-screen chemistry making the otherwise forgettable film more fun to watch. There's nothing really to take away from this story unless you are a fan of one of the principles. The writing struggles through the entire film, being very abrupt in all the right places. I can't understand how Gene Wilder was in this film. The incredibly personal story line of the intense struggle of infertility and in- vitro fertilization after losing his wife the year prior to cancer after experiencing years of infertility. That is the aspect I take most from this film. I gain more respect for Wilder as an actor for being able to endure such a plot that so closely resembles his own life.

Several years after directing "Funny About Love", director Leonard Nimoy admitted that making this movie was a mistake, and put the blame on the script. To a degree, Nimoy was correct. The writing found in this movie is truly bizarre at times. Throughout, characters spout out deranged dialogue that no human being with a reasonable amount of intelligence would say. Also, big chunks of time seem to be missing. For example, when Wilder's character and his wife have their first argument, in the next scene she is packing her bags and planning divorce - huh? I don't know if that's how it was written, or if the editing removed some scenes, but the movie is missing important information.

While most of the blame is with the script (and possibly with the editing), Nimoy has to share some blame for the performances of his actors. More often than not, Nimoy has his cast acting in a very broad manner that makes the deranged dialogue they speak even worse-sounding.

As I indicated in the summary line, this movie is more strange than funny.

While certainly not one of anyone's favorite comedies, there is an amount of sweetness to this film. Gene Wilder is an "edgy" cartoon strip writer - though as the viewer you're rolling your eyes as a conservative or a liberal - that becomes very desirous of having a baby with his new wife, Christine Lahti. When things don't biologically work out, they break up and Wilder finds himself in a relationship with Mary Stuart Masterson. Eventually, that doesn't work out either and Wilder realizes that Lahti means more to him as a wife than what a baby can bring to their relationship. End of story. The cons are evident in the film - simplistic story, no real depth of any character, no "laugh out loud" scene, no dewy-eyed scene. The script is mundane, the humor is flat. The best you'll get is a smile. The pros are few, but speak volumes to the main three actors. Firstly, Wilder is pitch perfect as usual - completely at ease in his character. Lahti gives a fine performance, elegant and sweet. Masterson - such a beautiful and amazingly talented actress - is wonderful in her strong-willed yet completely vulnerable character. Finally, Nimoy must be given credit for the pacing of the movie by keeping the scenes quick and fun. While the movie is long on relationships, it is short on character and development thereof. The easy-come-easy-go of the Wilder/Lahti, Wilder/Masterson relationships simply demand the viewer to not only accept but understand. While the viewer can certainly understand the situations, the viewer never sees the nuts and bolts that drive them. For me, this was the most frustrating part of the film. Overall, not great, but not bad, either - light and airy.

I've noticed a lowest common denominator here in past reviews. People watched this with the automatic assumption that this was going to be a full-blown, slapstick 'Comedy.' Nothing could be further from the truth, as this isn't the story being told.

Had this been made today, it would be considered a 'Dramedy.' It's not story-driven enough to be a full-fledged drama, and it's not sophomoric enough to be a comedy. It lies somewhere in between, and that's not entirely a bad thing. The collapse of Duffy's marriage to Meg is realistic enough. They cannot conceive a child, which Duffy clearly feels he needs at this point in his life. He keeps pushing this with Meg, and what do you think happens? Of course she's going to feel pressure, especially when she's just been handed her dream job. We never really see 'all' of the events leading to their divorce, but this was clearly an event in the making.

What follows is what any person would do following the demise of a long-term marriage/relationship. You go out and try and find someone else in order to start again, if anything to prove that the original break-up wasn't entirely your fault. But regrettably, as Duffy finds out, this doesn't always work either. He tries for someone younger (Masterson), but it becomes frighteningly apparent that perhaps it wasn't Meg or Daphne with the conception issues, but Duffy himself.

On a side-note, Duffy's a bit of a hypocrite when it comes to relationships, as he lambastes his own father who decides not long after his wife's death, to get married again. Duffy has no problem moving on from Meg, but has distinct thoughts of how his father's life should progress. I do find a particular scene at his mother's funeral to be incredibly touching. A child runs past Duffy, crying. He picks up the child to reassure him/her that everything is going to be all right, and despite his earlier braggadocio with his father, he completely breaks down at his culminated losses. (Namely the loss of his mother and the acceptance of the fact that he and Meg will never have a child.) Is this one of the classics of all time? No. The ending, as referenced elsewhere, is extremely rushed and a little too clinically 'nice' for me. Should scenes have been deleted? Yes. Namely the ice diaper and Duffy donating sperm scene. This two different films squished together, by Leonard Nimoy. Neither of which would've probably been good on their own merits, but together, they try their best to tell a story about flawed individuals. It's about a four out of ten.

It's not as bad as other people have made it out to be.