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‘The Boys’ are back

New Netflix film reunites stellar Broadway cast

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Boys in the Band, gay news, Washington Blade
Jim Parsons and Matt Bomer in ‘Boys in the Band.’ (Photo courtesy of Netflix)

A month out from the highest-stakes election of our lifetimes and with no end in sight to an ongoing global pandemic, now seems like a good time to ask ourselves (with apologies to the late Mart Crowley for the paraphrase), “Who are we?”, “Who were we?”, and “Who do we hope to be?”

LGBTQ+ viewers have a chance to do exactly that, thanks to a hotly anticipated Netflix offering that revisits a cultural touchstone from our past.

Reasserting once more its position as a heavy-hitter in the effort to bring LGBTQ stories to mainstream screens, the streaming giant’s Ryan Murphy-produced remake/reinterpretation of “The Boys in the Band” is guaranteed buzz by pedigree alone. Slick and star-studded, it brings the aforementioned Mr. Crowley’s groundbreaking 1968 play – by way of director Joe Mantello’s Tony-winning 2018 Broadway production, with cast intact – from stage to screen with an eye toward conveying the historical context in which this once-maligned slice-of-gay-life drama was written and takes place. For those who need a recap, “Boys” takes place in the apartment of Michael, a young-ish gay man in New York, as he throws a birthday party for his friend Harold. As the guests gather and the alcohol flows, their witty banter begins to turn bitter, with secrets, resentments, and fears bubbling to the surface – along with the deep self-loathing that comes from living as a gay man in a world that hates gay men simply for daring to exist.

In 1968, it was a bold but bleak expression of queerness, coming on the cusp of a historical breakthrough that would happen a year later at Stonewall. In 2020, it’s still pretty bleak, depicting a subculture full of damaged men tormented by a culturally induced dysfunction for which most of them still had no language to describe, but which we can now easily recognize as internalized homophobia. Borrowing from the then-and-still-influential palette of dramatists like Tennessee Williams and Edward Albee (both gay men, incidentally), its acidic humor and near-tragic psychodrama emerge from the memories and experiences shared by nine such men over the course of their evening, revealing the trauma that dominates all of their lives just beneath the brittle psychic armor with which they both shield and conceal themselves.

Inevitably, as the march toward Equality progressed through the 1970s and ‘80s, the characters of Crowley’s gay opus came to be seen as inconvenient, at best, and insulting, at worst. Derided as stereotypes reflecting straight expectations of normalcy, they were viewed by many within the movement as dated relics best swept aside and relegated to the dustbin of history, along with the play they inhabited. Looking back, it’s perhaps easy to see why. Forged in the middle of the fire, it’s a piece devoid of sentimentality, a kitchen sink slice of realism that lays bare the ugliness of its characters’ attitudes and behaviors and leaves it up to the audience to see through the unpleasant surfaces they present. Viewed today, despite the critical reassessment that allowed it to reclaim its rightful place as an important piece of LGBTQ+ history and ultimately led to Mantello’s hit remount, it’s still an undeniably harsh trip down a memory lane that most of us would rather forget.

Thanks to historical hindsight, though, the new film manages to find the perspective necessary to make it not only possible to give “Boys” another look, but to make it worth the effort. Driven by Mantello’s sensitive direction, the script reveals layers of subtext that may have been previously obscured for many viewers. Mantello steers his gifted dream cast with an eye toward illuminating the lines between cause and effect that make these characters tick, and while purists may quibble over efforts to cast a rosier tint over the play’s message, his spot-on instincts walk the delicate line between apologist gloss and humanistic compassion without significant missteps.

In this vision of the play, for instance, it’s possible to recognize the deep hurt that is behind Michael’s devolution into viciousness; a man for whom anxiety is such a constant companion that he’s given it a nickname (“Ix”) and who clings to the cold comfort of his Catholic faith in the hope of being redeemed for the sin of simply being who he is, it’s hard to lose sympathy for him – even at his cruelest – when the pain that fuels both these things and more is laid so bare before us. In the same way, the other problematic behaviors on display throughout – almost all of which can now be understood as symptoms of a disease in which those within a community stigmatized for its “otherness” turn against themselves and each other because they are powerless to strike back against their oppressors – evoke our empathy more than our distaste.

The talent of the players bolsters this effect immeasurably. Jim Parsons may be a bit of an acquired taste, for some, but the quirks of his persona and delivery fit like a glove on Michael, whose efforts to conceal his pain only reveal it at a level beyond words. Andrew Rannells and Tuc Watkins (as Larry and Hank) cut through the passive-aggressive vagueness of their characters to make them instantly recognizable and understandable as a couple grappling with the difficulties of an open relationship; Matt Bomer (Donald) once more proves he has much more to offer than his beauty, as does Charlie Carver as the fresh-off-meat-rack hustler hired as a birthday present. The authenticity of Robin de Jesus and Michael Benjamin Washington (Emory and Bernard) breathes thrilling life into roles that have sometimes been criticized for “tokenism,” and even the somewhat thankless character of Alan comes off honorably through Brian Hutchison’s performance. It’s Zachary Quinto, though, as “ugly, pockmarked, Jew fairy” Harold, who claims his place as the “heart” of the piece; in his magisterial performance, he manages to find not just the hard-earned wisdom of Harold, but also the kindness that lies beneath his surgically precise knack for finding the weaknesses of whichever sparring partner he happens to be up against at the time.

With Ryan Murphy as the force behind the new film, it should go without saying that it’s a matter of taste. Like all of Murphy’s productions, it is heavy on the style and glitz; the costuming and scenic designs have that too-perfect aptness to them that often undermines the authenticity of big-budget period pieces, and there’s the predictable but questionable inclusion of “flashbacks” and full-frontal nudity that make for a more visually stimulating experience but seem gratuitous in a piece that is otherwise so true to its theatrical origins. These are all fair points.

In the end, however, these surface trappings are irrelevant to the strength and dignity of the play; that, in the hands of Mantello and his talented cast, are preserved in full. Their efforts remind us that these characters are not stereotypes, but archetypes, emblematic representations arising from a life lived in permanent fight-or-flight mode – and it’s sobering to recognize that, even 50 years later, we can all look at our circle of friends and recognize each and every one of them.

That alone makes it clear that “Boys” has still not outlived the importance of the message it carries.

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Neo-noir ‘Femme’ offers sexy, intense revenge fantasy

A work of real and thrilling cinematic vision

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George MacKay and Nathan Stewart-Jarrett star in ‘Femme.’ (Photo courtesy of Utopia)

They say “revenge is sweet,” and it must be true. Why else would so many of our popular stories, dating all the way back to “Medea” and beyond, be focused on the idea of getting “even” with the people who have done us wrong?

It’s a concept with obvious appeal for anyone who has felt unjustly used by the world – or, more accurately, by the people in it – but that has particular resonance, perhaps, for modern queer audiences, long used to being relegated to the status of “victim” in the narratives we see on our screens. In “Femme” — the new UK indie thriller helmed by first-time feature directors Sam H. Freeman and Ng Choon Ping, now in limited theatrical release and expanding wider over the next two weeks — it provides the irresistible hook for a gripping tale of calculated vengeance in the face of anti-queer violence. Like the best of such stories, however, it’s as much a cautionary tale as it is a wish-fulfillment fantasy.

Set in London, it centers on Jules (Nathan Stewart-Jarrett), aka Aphrodite Banks, a popular drag performer in the city’s queer club scene who, after a performance one night, steps out in full costume to buy a pack of cigarettes and becomes the victim of a traumatic “gay bashing” incident at the hands of a young man goaded to violence by a thuggish gang of friends. Months later, though he’s recovered from his physical injuries, he is still deeply affected by the inner scars that linger. Robbed of the confidence that allowed him to perform, he’s withdrawn into a reclusive life, until concern from his friends and housemates prompts him to finally venture out into the world for a night of cruising at a gay sauna – where he encounters his bully doing the same thing. 

Unrecognizable and anonymously masculine out of his drag persona, Jules finds himself beginning a dangerous and duplicitous game in which he plans to “out” his former attacker – whose name, as he learns, is Preston (George MacKay) – in the most humiliating way possible. As his scheme begins to play out, however, he encounters an obstacle: in getting to know the closeted Preston, he is surprised to discover not only empathy for someone living their life in terrified camouflage, but a mutual attraction that develops despite the horrific history between them.

Framed as a self-described “neo-noir” story, a designation that implies a certain flavor of moral ambiguity as much as it does a tense and shadowy tale of intrigue or a psychologically complex tone, it’s a movie that relies heavily on style in order to sell its conceptual premise. Realistically, we might question the boldness that permits our protagonist to enact such a potentially hazardous scheme, but in the context of its genre trappings we are lulled into accepting it. And while most of us are likely “jaded” enough to question the possibility of tenderness between its two leading characters, the accepted conceits of the film noir form are enough to sell it to us – or at least allow us to grapple with it alongside Jules, whose righteously Machiavellian master plan is threatened by the feelings he “catches” in spite of himself.

That, of course, is part of the whole point. “Femme,” though it establishes itself by virtue of its very title as a testament to the struggle to “pass” for straight in a world that places a value judgment on perceived adherence to a strict norm for gender and sexuality, hinges on the idea that such things aren’t quite as clear-cut as we want to make them. Despite the black-and-white certainty we cling to when it comes to the subject of abusive or toxic relationships, there’s an emotional component that can only be ignored or dismissed at our peril, and even our most resolute intentions can be undermined by the shades of gray we discover in our hearts. 

Freeman and Ng – who also wrote the screenplay, adapting their own BAFTA-nominated short film from 2021 (starring Harris Dickinson and Paapa Essiedu) into a feature-length expansion – seem bent on challenging our snap judgments, on forcing us to sympathize with our oppressors by showing us the ways in which they, too, are prevented from living a fully authentic life by the expectations of their cultural environment. Even more challenging for many modern audiences, perhaps, may be the unavoidable observation that, in enacting his plan of revenge, Jules crosses the line between being a victim and being a victimizer – a fine point that may trigger uncomfortable implications in a social environment that has become marked by divisive moral constructs and hardline ethical posturing.

Before we scare you off with discussion of high-concept themes and “culture war” rhetoric, however, it’s crucial to bring up the elements that lift “Femme” above and beyond the level of so many such narrative films and makes it a somewhat unexpectedly potent piece of cinematic storytelling – and all of them have to do with the skill and intention behind it.

As to the former, the movie’s first-time directors manage a remarkable debut, steeping their film in moody, genre-appropriate visuals and murky morality. They pave a path beyond the easy assessments proscribed for us by conventional thinking, and force us to follow our sympathies into a disquieting confrontation between what we “know” as right and what we feel as true; at the same time, they push back against any natural sentimentality we might have about the situation, stressing the toxicity of the relationship in the middle of their film, the ironically-reversed insincerity of its dynamic – and, perhaps most importantly, the reality of the defining circumstances around it. While we might find ourselves longing for a happier resolution than the one we expect, the film makes no pretense that these two men might overcome the deep denial and traumatic associations – not to mention the calculated lack of honesty on the side of its de facto protagonist, to achieve some kind of “happy ending” between themselves. Nevertheless, we hope for it, in spite of ourselves.

That delicate dynamic works largely because of the movie’s lead actors. Both Stewart-Jarrett (“Candyman”) and MacKay (“Pride”, “1917”) deliver fully invested, utterly relatable performances, finding the emotional truth behind their interactions with as much palpable authenticity as they bring to the chemistry between them. They force us to abandon our preconceived ideas about each character by finding the human presence behind them, and it makes the story’s final outcome feel as heartbreaking as it does inevitable.

As for intention, “Femme” – which premiered at last year’s Berlin International Film Festival and went on to gather acclaim across the international film fest circuit – might be a little hard to take for the easily triggered, we won’t deny it. Still, it’s a work of real and thrilling cinematic vision that goes beyond easy morality to highlight the tragedy that comes from being forced to live behind a mask for the sake of societal acceptance. It’s also exciting, smart, and unexpectedly sexy – all of which make it a highly- recommended addition to your watchlist.

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Tommy Dorfman makes directorial debut in ‘I Wish You All the Best’

Film premiered at SXSW

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(Courtesy photo)

Editor’s note: Jack Morningstar attended SXSW.

Based on Mason Deaver’s novel, “I Wish You All the Best” follows Ben DeBacker (Corey Fogelmanis), a nonbinary teen who is thrown out of their house and forced to move in with their estranged older sister and her husband.

The film premiered at SXSW last week and stars Corey Fogelmanis, Miles Gutierrez-Riley, Alexandra Daddario and Cole Sprouse, Lena Dunham and was produced by Matt Kaplan and Tommy Dorfman. In addition to directing and producing, Dorfman also adapted the screenplay. 

“I had never read a book that centered on an experience that mirrored mine so vividly — just being a queer kid from the South — so I immediately was interested in adapting it and was putting myself up for that,” she said.

The heartwarming film brings awareness to the plight of LGBTQ kids who grow up in conservative families and communities, while also emphasizing that, as Dorfman noted, “safety can be found in many places.” In this case, the main protagonist, Ben, finds refuge in their friendship with Nathan. Fogelmanis, who plays Ben, explains that “together they have so many first-time experiences. Learning to let your walls down with someone that is a stranger, or that you don’t have a biological bond with is really scary. And then just to see all the stuff that comes up and have that person still accept you is just the greatest thing for Ben.”

Fogelmanis and Gutierrez-Riley were obvious choices for the roles of Ben and Nathan.

“It was really clear to me from a filmmaker perspective. There were a couple of people for each role that I was interested in and enjoyed working with, but Fogelmanis, from that first tape to the last chemistry read made it so clear who Ben was, who Ben is, and who Ben could be. Miles, who plays Nathan, is so amazing as well,” Fogelmanis added. “It was really effortless in a way. Reading Tommy’s words was super easy to find my way into.”

Dorfman found it particularly easy to work with Gutierrez-Riley as well since they attended the same acting program at Fordham University. 

“I remember when I was working with Miles in the audition process, I was like, oh, I know how to talk to you. That’s huge. It helped me as a first-time director,” she said.

Dorfman wanted to be careful “not fall into the trap of dramatizing Ben’s gender or coming out too much. It is important to remember that viewing people solely through the lens of their gender or sexuality diminishes their vast and complex humanity. For instance, my life extends beyond my trans identity. I’m an artist, a wife, a mother to two dogs, a sister to four siblings, an avid reader of classic literature, 10 years sober, have ADHD, enjoy arranging flowers and charming tableware, to name a few things.”

“Similarly, my film’s protagonist, Ben, doesn’t have an identity exclusive to being a queer teenager. Although their coming out experience is crucial and worth exploring, an obvious jumping-off point in my film, it’s what happens after they’re able to open up that inspired me to make ‘I Wish You All The Best,’ Dorfman added. “My film examines the discomfort of being seventeen, falling in love with a classmate, forming friendships, finding a voice through painting and self-expression, learning to love and be loved, navigating anxiety and depression, and coping with the pressures of growing up. These are universal and very human experiences that shape Ben beyond the limits of representation or perception.” 

Dorfman describes being one of the few openly transgender directors as “an honor and a disappointment.” She added, “I wish there were more of us, but there will be. It’s exciting, though, to be part of this next generation of creators and filmmakers entering this space and telling more human experiences.”

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Nick Kroll and Andrew Rannells want to adopt baby in ‘I Don’t Understand You’

Film premiered at SXSW in Austin

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(Courtesy photo)

Editor’s note: Jack Morningstar attended SXSW in Austin, Texas.

“I Don’t Understand You” focuses on a couple whose romantic Italian getaway devolves into bloody chaos while they prepare to adopt their first child. 

The film, while veering into hilariously gruesome hijinks, tells the story of a gay couple who is willing to kill for a chance at fatherhood. It sheds light on the hurdles that same-sex couples often go through in the adoption process: Financial burdens, time constraints, fraud, and in this case, a rural Italian family.

The film premiered last weekend at SXSW in Austin and stars Nick Kroll and Andrew Rannells along with Nunzia Schiano, Morgan Spector and Eleonora Romandini. It was written and directed by Brian Crano and David Craig, who are married. They sourced inspiration from their own adoption struggles and an Italian vacay gone wrong. 

“We were about to leave for Italy when we found out that we had matched with a birth mother and our son would be born in about six weeks,” said Crano. 

According to Craig, the trip was tense and it culminated in their car getting stuck in a ditch on their way to an anniversary dinner.

“We ended up at an old lady’s house after she rescued us in her Fiat. Her family cooked us a meal and we stayed up drinking with them until 3 a.m., not understanding a word they were saying,” he said.

Without spoiling anything, the couple in the movie go to absurd lengths to ensure that their adoption goes through. Craig explained that the theme of the movie was “what would you do for your kid.” 

“We were three years into our own journey at the time and realized we would literally do anything to make that dream a reality. It’s really a love letter to our son,” he said.

The film is hard to relegate to a single genre. 

“When conceiving the story, we saw it as different parts — romantic comedy, horror movie, murder play — but I think by bringing in Nick and Andrew that blend actually became much more of an organic mix where the comedy sustained throughout. They elevated it in a more elegant fashion,” said Craig. 

“I Don’t Understand You”was produced by Pinky Promise, a women-led production company with the mission to elevate diverse voices in their storytelling. Kara Durrett, Pinky Promise’s current president was a champion of this script from the beginning. Founder Jessamine Burgum recounts that when Durrett was onboarding, she said “If you don’t get [“I Don’t Understand You”] I don’t know if this is going to work.” 

It ultimately became one of the first projects Burgum and Durrett collaborated on. 

Kroll and Rannells’ chemistry carried the film. 

“There was a desire to work with each of them because they had both separately been in such amazing comedian teams — like Andrew with Josh Gad and Nick with John Mulaney. Nick and Andrew’s characters are in almost every scene of the movie together, so they needed to be adept to basically doing a shared performance. There was no one more well-positioned to do this as naturally as possible,” said Crano. 

Their characters are easy to root for, yet also deeply flawed. 

“A big thing we wanted to do with this movie, and with all of our work in telling stories, is avoid telling a cliched gay trauma film. We’ve never ascribed to the idea that there is a subcategory to film that is LGBTQ, rather — movies are for everyone. We want to make a movie where gay characters are flawed, not for being gay, but because of who they are. They can be villains, but they are our protagonists,” said Craig. 

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