The movie exhibits the same careful story telling as the play, which should come as no surprise, considering that Harvey Fierstein wrote the screenplay. It is an uncompromisingly honest - and occasionally brutal - portrait of a New York drag queen. And it is told as only Harvey Fierstein can tell it.
Our first introduction to Arnold Beckoff (Benji Schulman in this scene) is his mother finding him in her closet at age six, wearing her clothes and make-up. This sets the tone for their relationship throughout the movie, as Arnold (Harvey Fierstein) and his mother (Anne Bancroft) have a wonderfully portrayed love-hate relationship throughout the film. The movie follows a grown-up Arnold through the major relationships in his life: Ed (Brian Kerwin), a closeted school teacher who leaves Arnold to marry a woman; Alan (Matthew Broderick, graduating from the role of David in the stage play), a model who loves Arnold as much as Arnold loves him, but who is murdered by bat-wielding thugs; David (Eddie Castrodad), the son Arnold adopts following Alan's death; and ultimately Arnold's mother, with whom he attempts to have an honest relationship despite her openly disapproval of him. Things come to a head with his mother during a visit to the cemetery where she cruelly berates Arnold for praying over Alan's grave, telling him that he has no right to compare his "playing around with a little boy," to her "thirty-five year marriage." Arnold's response to her ultimately becomes the catalyst through which they work out their differences.
Fierstein's desire for integrity in his story is apparent throughout the movie. The script neither shies away from, nor pretties up difficult issues. The characters are fully developed, and each acts from an internal logic that is readily understandable to the viewer, whether or not we agree with their choices. The humor doesn't take away from the seriousness of the themes covered, but rather serves as a contrast to highlight them.
The acting is exemplary. Fierstein is brilliant as Arnold, but then, he had plenty of practice. Anne Bancroft gives an edgy performance as a mother who wants to love her son, but has trouble accepting him for what he is. In spite of her unforgivable cruelty to her son in the graveyard, you do forgive her when she tells Arnold, "You shut me out of your life and then blamed me for not being there!" She then goes on to share her own wisdom on loss with him, healing the breach for once and all. Matthew Broderick gives a wonderful performance in a part with little screen time, but huge impact. His portrayal of Alan's love for Arnold is real, and as satisfying a romance as one could want to see on the big screen. Brian Kerwin plays Ed's confusion to perfection.
This movie was among the first to offer up gay characters who are honest and unashamed about their sexuality. That alone would make it a must see, but this movie is also highly entertaining, sparkling with humor, wit, and unforgettable drag scenes. A movie that should be watched every so often to remind us that, no matter what clothes you wear, all of us are the same underneath.
Our first introduction to Arnold Beckoff (Benji Schulman in this scene) is his mother finding him in her closet at age six, wearing her clothes and make-up. This sets the tone for their relationship throughout the movie, as Arnold (Harvey Fierstein) and his mother (Anne Bancroft) have a wonderfully portrayed love-hate relationship throughout the film. The movie follows a grown-up Arnold through the major relationships in his life: Ed (Brian Kerwin), a closeted school teacher who leaves Arnold to marry a woman; Alan (Matthew Broderick, graduating from the role of David in the stage play), a model who loves Arnold as much as Arnold loves him, but who is murdered by bat-wielding thugs; David (Eddie Castrodad), the son Arnold adopts following Alan's death; and ultimately Arnold's mother, with whom he attempts to have an honest relationship despite her openly disapproval of him. Things come to a head with his mother during a visit to the cemetery where she cruelly berates Arnold for praying over Alan's grave, telling him that he has no right to compare his "playing around with a little boy," to her "thirty-five year marriage." Arnold's response to her ultimately becomes the catalyst through which they work out their differences.
Fierstein's desire for integrity in his story is apparent throughout the movie. The script neither shies away from, nor pretties up difficult issues. The characters are fully developed, and each acts from an internal logic that is readily understandable to the viewer, whether or not we agree with their choices. The humor doesn't take away from the seriousness of the themes covered, but rather serves as a contrast to highlight them.
The acting is exemplary. Fierstein is brilliant as Arnold, but then, he had plenty of practice. Anne Bancroft gives an edgy performance as a mother who wants to love her son, but has trouble accepting him for what he is. In spite of her unforgivable cruelty to her son in the graveyard, you do forgive her when she tells Arnold, "You shut me out of your life and then blamed me for not being there!" She then goes on to share her own wisdom on loss with him, healing the breach for once and all. Matthew Broderick gives a wonderful performance in a part with little screen time, but huge impact. His portrayal of Alan's love for Arnold is real, and as satisfying a romance as one could want to see on the big screen. Brian Kerwin plays Ed's confusion to perfection.
This movie was among the first to offer up gay characters who are honest and unashamed about their sexuality. That alone would make it a must see, but this movie is also highly entertaining, sparkling with humor, wit, and unforgettable drag scenes. A movie that should be watched every so often to remind us that, no matter what clothes you wear, all of us are the same underneath.