Spouse Henry Fonda’s cheating spurs Taylor to plastic surgery in Switzerland, but after recuperation—and with Edith Head costuming—she finds herself receptive to the attentions of younger Helmut Berger. Taylor often took risks exploring the female self-image; facelifts were a hot-button topic, and this film further provoked discomfort due to its graphic operating-room scenes. This was the last theatrical feature that Dominick Dunne produced.