Os Rapazes da Banda

THE BOYS IN THE BAND (4 outta 5 stars) Great movie adaptation of the acclaimed stage play. A bunch of guys get together to throw a birthday party for a friend. A few underlying tensions come to the forefront and complications ensue... alcohol is consumed and tempers flare and things get said which shouldn't be said and may be unforgivable. I love these kids of movies! Even though the movie is very "stagy" (it mainly takes place on one set), the acting is so natural that you'll begin to believe you are actually eavesdropping on a rowdy party next door. Oh, did I mention that the characters are all gay? As the ads for this movie proclaim: "This is NOT a musical!" I first saw this on the late show when I was in my early teens and now, some thirty years later, I still find the movie extremely powerful and compelling. Cliff Gorman is especially good as the effeminate Emory. I think this is the only time he ever played "camp" and can't believe that he wasn't totally typecast after his performance here. Leonard Frey is also great as the enigmatic and intense Harold (the birthday boy). But Kenneth Nelson in the lead role of Michael really holds this movie together. He starts out as such a nice guy, the person the audience is supposed to identify with... but as the evening commences his personality becomes uglier and uglier, until he is no longer playing the movie's "hero".

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 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.

"The Boys In The Band", in my opinion, remains to this day the quintessential gay film and still holds the test of time against such recent gay films as "Philadelphia", "Jeffrey", and "In And Out". The film is also a landmark in another way, keep in mind that when it was originally released in 1970, homosexuality was still classified as a "mental illness" by the American Psychological Association, and the Gay Rights movement was barely a year old. The plot is quite simple: 9 men get together for a birthday party and one of them is straight. What transpires evening long examination of themselves and each other. Many today have stated that the film perpetuates gay stereotypes, but I disagree. Every type of person at that party exists in the gay community. Others have had a hard time with the characters self-loathing, but how many of us gay and lesbian Americans haven't gone through a period like that in our lives, especially before we are out. The film is both funny and sad and for most of us can bring about strong memories of what life was like before self-acceptance and coming out of the closet.

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.