Picks and Pans Review: Prince of Bel Air
updated 01/20/1986 AT 01:00 AM EST
•originally published 01/20/1986 AT 01:00 AM EST
Passion Flower uses sex to serve its plot. Prince of Bel Air tries to use sex as its plot. In this ersatz version of Shampoo without the redeeming social importance, Mark (St. Elsewhere) Harmon plays a stud, a Warren Beatty retread, a lite Don Johnson. He clears the leaves out of rich matrons' pools and the cobwebs off their pillows. He jocks around with his buddies. Even he knows what an empty life he leads. Then he meets Kirstie (North and South) Alley, as an artist who produces stuff I wouldn't hang in my bathroom. They fall into the sack, then in love, and they do have their brief moments of charm, as when Alley says to Harmon: "So you're the one who writes all those letters to Penthouse." But Harmon feels trapped by The Relationship—"I don't like feeling responsible for your happiness." He undergoes an agonizing but scenic reappraisal on a rocky beach. He returns to Alley. A happy ending. A not-so-happy critic.