Film ReviewsPhiladelphia: Still Transformative
Jun 7, 2018 Anchorage Press
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Considering the U.S. Supreme Court ruling this week that allows business owners to practice discrimination under a thin veil of religious freedom and free speech, the re-release of Philadelphia is timely and apropos. When Philadelphia, starting Tom Hanks and Denzel Washington, opened on the big screen in 1993, it was a testament to the times, calling attention to the AIDS epidemic and the controversial moral posturing, bigotry, and dilemmas around homosexuality. Hanks plays Andrew Beckett (Andy), a successful and young lawyer, who is embraced by the partners of his firm and considered their brightest lawyer, until he is suddenly fired over a trivial mishap that seemed slightly orchestrated. Andy is no fool, and he knows that there is only one viable explanation for his sudden unemployment, that the visible advancement of Kaposi’s sarcoma lesions on his forehead, a telltale sign of AIDS, has let fear and homophobia get the best of the partners. Andy turns to Joe Miller (Washington), who was his opposing counsel in a previous case. Miller is a different kind of lawyer than Andy, he’s a risk-taker of a different kind, he’s in solo practice, hard-working, and opportunity-seeking, but also homophobic. Eventually, Miller, who is Black, comes around, putting justice first, finding common ground with Andy because discrimination, whether based on skin color, sexual orientation, gender, etc., is illegal and immoral no matter what.
Considering the U.S. Supreme Court ruling this week that allows business owners to practice discrimination under a thin veil of religious freedom and free speech, the re-release of Philadelphia is timely and apropos. When Philadelphia,starting Tom Hanks and Denzel Washington, opened on the big screen in 1993, it was a testament to the times, calling attention to the AIDS epidemic and the controversial moral posturing, bigotry, and dilemmas around homosexuality. Hanks plays Andrew Beckett (Andy), a successful and young lawyer, who is embraced by the partners of his firm and considered their brightest lawyer, until he is suddenly fired over a trivial mishap that seemed slightly orchestrated. Andy is no fool, and he knows that there is only one viable explanation for his sudden unemployment, that the visible advancement of Kaposi’s sarcoma lesions on his forehead, a telltale sign of AIDS, has let fear and homophobia get the best of the partners. Andy turns to Joe Miller (Washington), who was his opposing counsel in a previous case. Miller is a different kind of lawyer than Andy, he’s a risk-taker of a different kind, he’s in solo practice, hard-working, and opportunity-seeking, but also homophobic. Eventually, Miller, who is Black, comes around, putting justice first, finding common ground with Andy because discrimination, whether based on skin color, sexual orientation, gender, etc., is illegal and immoral no matter what.
Philadelphia is a beautifully compelling film, but it’s one side of the coin, in 1993 there was another film that was of equal importance but that apparently didn’t survive the 25th anniversary release test, And the Band Played On. And the Band Played On is docudrama based on Randy Shilts’ extensively researched book on the early days of the AIDS epidemic and the shameful biases found in the institutions and systems that were supposed to protect people and help them navigate and contain epidemics like AIDS. A double feature with the two 1993 films would have been a much more powerful event because it would remind viewers, and introduce new viewers to a devastating time in the history of the LGBTQ community that was marked by deep sorrow and re-calibrating of our collective moral compass towards justice.
Philadelphia is a lovely film that focuses on every day people and their families and coworkers, in their everyday lives and places as they are faced with a new reality. The film has a an intimate feel that is familiar to viewers in big cities where meaningful stories exist one on top of another like different floors in a sky rise. The story in Philadelphia is not just about Andy or his partner Miguel (Antonio Banderas), it’s about average people as they begin to awaken and feel compassion for marginalize group that has always been part of society but has largely lived in the closet or invisible for fear of hateful acts against it. Philadelphia is a nice reminder of what the term “family” means within the LGBTQ community. It’s an old term, used for decades, but as touching and important as ever, it refers to LGBTQ folks and the communities they build; during decades of oppression, discrimination and hate crimes, “family” created support networks, safe and loving environments, and political movements to make the community visible, fight against injustice, and demand equality.
Philadelphia, apart from having talented actors delivering remarkable performances, is a piece of history that anyone with a heart and a sense of justice can understand. Perhaps one of the best known scenes in the film, and indeed in gay film history, is Andy’s reverie as gives Joe the gift of his favorite operatic aria, “La Mamma Morta” from “Andrea Chénier” by Umberto Giordano. The recording in the film is by none other than Maria Callas, who to this day is without equal. Callas and Hanks, together, deliver passion, history, humanity and love-- making the aria an anthem for transformation. Philadelphia is about the metamorphosis of the characters, and events in history as the LGBTQ community dealt with the AIDS epidemic and led the transformation of medical and justice systems. Twenty-five years later, some viewers may find themselves transformed as well, and again.
Bear Tooth
Philadelphia (1993) ~ 25th Anniversary Presentation ~ 2018 Pride Fest
PG-13 for some graphic language and thematic material
Monday, 6/11 at 7:45 PM
Considering the U.S. Supreme Court ruling this week that allows business owners to practice discrimination under a thin veil of religious freedom and free speech, the re-release of Philadelphia is timely and apropos. When Philadelphia,starting Tom Hanks and Denzel Washington, opened on the big screen in 1993, it was a testament to the times, calling attention to the AIDS epidemic and the controversial moral posturing, bigotry, and dilemmas around homosexuality. Hanks plays Andrew Beckett (Andy), a successful and young lawyer, who is embraced by the partners of his firm and considered their brightest lawyer, until he is suddenly fired over a trivial mishap that seemed slightly orchestrated. Andy is no fool, and he knows that there is only one viable explanation for his sudden unemployment, that the visible advancement of Kaposi’s sarcoma lesions on his forehead, a telltale sign of AIDS, has let fear and homophobia get the best of the partners. Andy turns to Joe Miller (Washington), who was his opposing counsel in a previous case. Miller is a different kind of lawyer than Andy, he’s a risk-taker of a different kind, he’s in solo practice, hard-working, and opportunity-seeking, but also homophobic. Eventually, Miller, who is Black, comes around, putting justice first, finding common ground with Andy because discrimination, whether based on skin color, sexual orientation, gender, etc., is illegal and immoral no matter what.
Philadelphia is a beautifully compelling film, but it’s one side of the coin, in 1993 there was another film that was of equal importance but that apparently didn’t survive the 25th anniversary release test, And the Band Played On. And the Band Played On is docudrama based on Randy Shilts’ extensively researched book on the early days of the AIDS epidemic and the shameful biases found in the institutions and systems that were supposed to protect people and help them navigate and contain epidemics like AIDS. A double feature with the two 1993 films would have been a much more powerful event because it would remind viewers, and introduce new viewers to a devastating time in the history of the LGBTQ community that was marked by deep sorrow and re-calibrating of our collective moral compass towards justice.
Philadelphia is a lovely film that focuses on every day people and their families and coworkers, in their everyday lives and places as they are faced with a new reality. The film has a an intimate feel that is familiar to viewers in big cities where meaningful stories exist one on top of another like different floors in a sky rise. The story in Philadelphia is not just about Andy or his partner Miguel (Antonio Banderas), it’s about average people as they begin to awaken and feel compassion for marginalize group that has always been part of society but has largely lived in the closet or invisible for fear of hateful acts against it. Philadelphia is a nice reminder of what the term “family” means within the LGBTQ community. It’s an old term, used for decades, but as touching and important as ever, it refers to LGBTQ folks and the communities they build; during decades of oppression, discrimination and hate crimes, “family” created support networks, safe and loving environments, and political movements to make the community visible, fight against injustice, and demand equality.
Philadelphia, apart from having talented actors delivering remarkable performances, is a piece of history that anyone with a heart and a sense of justice can understand. Perhaps one of the best known scenes in the film, and indeed in gay film history, is Andy’s reverie as gives Joe the gift of his favorite operatic aria, “La Mamma Morta” from “Andrea Chénier” by Umberto Giordano. The recording in the film is by none other than Maria Callas, who to this day is without equal. Callas and Hanks, together, deliver passion, history, humanity and love-- making the aria an anthem for transformation. Philadelphia is about the metamorphosis of the characters, and events in history as the LGBTQ community dealt with the AIDS epidemic and led the transformation of medical and justice systems. Twenty-five years later, some viewers may find themselves transformed as well, and again.
Bear Tooth
Philadelphia (1993) ~ 25th Anniversary Presentation ~ 2018 Pride Fest
PG-13 for some graphic language and thematic material
Monday, 6/11 at 7:45 PM