Festa per il compleanno del caro amico Harold

Not only was this one of the first "gay" movies I ever saw, but it was, in fact, one of the first movies I ever saw - period. It had a profound influence on me, as I grew up thinking the adult life of a homosexual was going to be a dialogue-driven, melancholy soap opera set to instrumental Burt Bacharach. "The Boys in the Band" is one of my favorite films, and certainly better than most contemporary gay cinema. They don't make 'em like this anymore. This film has real visceral power and impact. I'd take this over "All Over the Boy" any day.

Yes, I know, it perpetuates loathsome stereotypes. But it's also a period piece, and the final legacy of a number of talented actors lost to the AIDS epidemic -- yes, I know they made other movies, but the gay community isn't going to remember Leonard Frey primarily as Motel Kamzoil. They're going to remember him as the "pockmarked Jew fairy" with the pot garnished salads served to dear Ma-Ma. LOL

I was only three years old in 1968 when the original play came out, and I didn't see this movie for myself until the late 1980s. But it still records for me an era and a mood that should not be forgotten, if only because it reminds us of how very far we've come. People should not be shielded from the realities of the past in order to sugarcoat history.

RIP Robert LaTourneaux; Leonard Frey; Kenneth Nelson; Keith Prentice; and Frederick Combs.

I suppose all gay men must have a reaction to BITB one way or another. It must be respected for being incredibly daring when it came out: the first play to focus exclusively on gay characters and show us as average men with basically normal lives. (As late as the 60s few plays, & far fewer films, even acknowledged gays existed; those that did used gays as symbols of abasement or decadence. 'Different from the Others'-1919 and 'Victim'-1961 were isolated exceptions.) The sexually frank dialog was also a groundbreaker. A gay friend who saw the original stage production remembers being astonished by Harold's line, 'Your lips are turning blue. You look like you've been rimming a snowman!' Crowley wins laurels for being the first playwright to present our community without apology.

That said, I admit I found the film dated when I first saw it in the 80s, when I was in my 20s. Watching it now, I have a different reaction. For one thing, I adore the brilliant dialog. What an inspiration to write a comedy of manners set in the archly mannered world of New York gays! There hasn't been a screenplay with this many epigrams per inch since 'All About Eve.'

The first act is funny and marvelous. The second act teeters into melodrama, stealing the device of all-night boozing and humiliating party games to 'strip characters bare' from 'Who's Afraid of Virginia Woolf?' Michael, the host and game emcee, is such a bitch that we can't feel sympathy when Harold confronts and effectively destroys him. Kenneth Nelson's performance as Michael doesn't help: it's like an acting class exercise, all shrieking and hysterics.

While the ensemble as a whole is strong, Leonard Frey's brilliant, definitive Harold enables him to walk off with the film. The straight Cliff Gorman does fine work as the flaming, ultimately touching Emory; Keith Prentice is very good as the one well-adjusted party goer, the happy sensualist Larry; and Reuben Greene and Frederick Combs make the best of underwritten characters (Combs get lots of chances to show his rear end to great advantage, including a gratuitous nude shot).

Besides good acting, the film has other points to recommend it. The film's 'opening up' of the play is never intrusive or contrived. Friedkin's camera never seems trapped, though almost the entire picture is shot in one apartment, and he keeps the story moving swiftly along. And Crowley shows courage in leaving the question of Alan's sexuality somewhat ambiguous, despite his affirming his wife as the person he truly loves, thereby rejecting Michael as a gay man and precipitating his collapse.

The themes of love, truth, self-loathing, friendship and relationships speak to audiences gay & straight. They are dealt with in a well made film and a script crafted with wit and humor. While the 'if we could just not hate ourselves so much' viewpoint does date the movie, it has more skill and substance than 75% of the films on the market-and (I agree with other posters) 99% of the 'gay' films out there now.

I know I'm walking into a minefield by writing this, but here goes:

To begin with, I should say that I was born one month before the Stonewall riots and, of course, entirely missed the era this movie portrays. I have read countless reviews insisting that this is a dated film, and a time capsule of a long gone age of self-loathing. But, speaking as a single gay man living in Manhattan now, all I could think was that this movie hits closer to home than a lot of folks would like to admit. For every character in the movie, I could think of at least one acquaintance of mine of my age who could easily step into those shoes. I have met numerous "Michaels" who shrug responsibility, live off credit cards and (try to) drown their insecurity in endless parties; Walk into any bar in Chelsea and you'll see at least a dozen snide, contemptuous "Harolds" skulking around radiating disdain for everyone around them; and let's not get started on the legions of airhead pretty boy "Cowboys" out there!

This is not to say that all the gay men I know are like this. I certainly don't share the P.O.V. of Michael, Harold, etc. In fact, I know just as many well-adjusted, happy and likeable gay guys, and I'd bet money there were similar folks like that in 1968, when the original play came out (no pun intended). But it seems very p.c. to write this movie off as a history lesson and I can't. The whole tone of the movie, the suppressed anxiety the characters feel about themselves, and the bitterness they feel towards each other, the resentment the gay men feel for the (possibly) straight guy, and above all the need for the characters to bury their self-esteem problems by getting drunk and partying with abandon happens too often among people I know to dismiss as long ago and far away.

I went to see "The boys in the Band" the weekend before it opened in Chicago in 1970 by accident. I took a new girl friend, fresh from a farm town in Wisconsin on her 20th birthday to see "Endless Summer." It was the movie that she most wanted to see, and since I mostly wanted to be around for breakfast the day after her 20th birthday, we went. As a "Surprise Sneak Preview" we also got "The Boys in the Band." The next morning, after a Wisconsin style hearty breakfast in bed, I found that I could not remember a single scene or line from "Endless Summer," but to this day I remember nearly all of "The Boys in the Band." Caroll and I were not an item for too long, but several years later when I bumped into her strolling on Michigan Ave. with her new husband, she mentioned "The Boys in the Band" and how glad she was that we'd seen it.

The reason that I liked it so much then, and even went to the trouble to hunt down a very hard to find copy for a weekend mini-film-festival that some friends and I held two years ago, is that it is a brilliant play about people. You could substitute a group of straight folks, set it in downtown Shanghai or Moscow or Rome and nearly every line would still ring true. Good art must be universal or it is just advertising! "The Boys in the Band" is very good art. It portrays the everyday, not particularly larger than life, not particularly unique everyday flaws and quirks of people. The message of this film is "What the hell, were all the same under these cheesy facades we polish so brightly and value so highly and couldn't justify for two seconds in the light of any true intelligence and logic."

I don't mean to hurt anyone's sensibilities or detract from the real ground breaking value of this film. This was a big first. Gay guys right up there on the silver screen just like Rock Hudson and Doris Day, BUT admitting it. In a sense, being a "Period Piece" is the highest compliment that you can pay to a production based on "social commentary." Of course it looks like 1970, Folks, it was 1970. Now if you want a period piece, I just saw "Endless Summer" on AMC the other weekend. Talk about dated!

As far as filmed stage plays go, the production effort on "The Boys in the Band" is not really fabulous, but it isn't bad enough to detract from the story or it's impact. As literature I rate this film a solid 10. As a movie I rate it as a 7.5. Compared with other similar efforts of the time, "Butterflys are Free" or Who's Afraid of Virginia Wolf" for instance it stands up.

If you can find it (which ain't easy), rent it. It is well worth an evening.