Movie Review - The Boys in the Band (2020)

This film is based on a play that premiered in 1968. It was such a success that it was adapted into a film in 1970. That play was revived on Broadway in 2018, marking the 50th anniversary. That 2018 version won Best Revival of a Play at the 73rd Tony Awards. This 2020 entry is an adaptation of that revival, marking the 50th anniversary of the 1970 film as well. Joe Mantello directed the Broadway revival. He also directs this film, retaining the entire 2018 cast. The play and film were about the lives of a group of gay men. At this point, this production is about the past lives of a group of gay men. Yet, despite being about lives 50 years ago, there is a lot that feels still relevant and true. Yes, there is a level of homophobia at work here and specifically self-loathing that perhaps wouldn't allow this particular story to be set in the actual year 2020.

The majority of the film, as the play, occurs inside one man's apartment. The film allows for some glimpses of the world outside that apartment, but we don't get that much of the outside world to establish the homophobia at play. Some of it comes through one of the characters who brings that homophobia into the proceedings. Other than the technology on display, particularly a rotary telephone, one might not be able to totally distinguish this from today. There aren't that many pop culture references that date it either. Obviously, the fashion is spot on, but nothing here is so anchored in the 60's. The greatest indication of the time really is the psychological dynamics, particularly the self-hatred, which reaches a fever pitch here. In 50 years, a lot of that weight has been lifted, so that it's unlikely to be as toxic as it is here. However, that toxicity mostly springs from one character, so the aim here, from writer Mart Crowley, isn't that far off from right now.

Jim Parsons (The Big Bang Theory and Hollywood) stars as Michael, the character with the most toxicity and who has the most self-hatred of all of them, or at least he's the one who expresses it outwardly. That self-hatred manifests though in vitriol that he spits at anyone. Michael is in some ways the surrogate for Crowley. Crowley is mostly known for writing this play, but he did work in Hollywood a bit. Michael doesn't necessarily seem like a writer, but it's suggested that he did work in Hollywood or theater, though now he's unemployed and receiving unemployment checks, which aren't much. Yet, he still wants to spend money as if he's still living that Hollywood lifestyle.

He doesn't seem like he's in any serious, financial trouble, but it is a bit of a concern. He has a nice, New York apartment, but he had a life traveling from here to there, having various sexual encounters but never a serious relationship, feeling anxious and guilty about his closeted promiscuity. He never settled down or found someone with whom he could settle down. This seemed like it was mainly due to circumstance. Now, he's a bit older and he's feeling like he's unable to find someone. He complains about his looks, particularly his hairline and he makes a big deal about beauty rituals.

Matt Bomer (Magic Mike and The Normal Heart) co-stars as Donald, probably the best friend of Michael who goes back to knowing him when they were teenagers. Donald doesn't live in the city anymore, at least not in Manhattan. It's suggested that he lives with his parents in a suburb somewhere but drives into the city to see Michael and spend the night with him. He had a sexual relationship with Michael but they seem to be friends now. Michael works as a janitor or office cleaner, what's referred to as a "charwoman." He feels like a failure and a disappointment to his parents, in part because he's gay. He comes to Michael's apartment to relax, have fun and enjoy the birthday party.

Pictured above, Zachary Quinto (Star Trek and Heroes) also co-stars as Harold, the man whose birthday it is. The party at Michael's apartment is for Harold. He's self-described as a 32-year-old Jewish man with pockmarks. He used to be an ice skater, possibly a professional one. Whatever he did, it provided him with enough or more than enough money to afford a lifestyle where he doesn't have to worry. He has a very sardonic wit and a haughty way about him. He'll make snide comments, but he isn't as aggressive or as confrontational as Michael. He rather floats in and floats out, just wanting to have a good time without much of a fuss, but he does strongly push back, especially at Michael's vitriol. He's a good match or check on Michael, especially in their debates about beauty vs. intelligence, as well as religion and choice of lifestyles.

Andrew Rannells (Girls and Black Monday) plays Larry, a commercial artist. He's in a relationship with Hank, played by Tuc Watkins (One Life to Live and Desperate Housewives). Hank is a math teacher who is married to a woman and has two children, a boy and a girl. Hank is in the process of getting a divorce, mainly because he came to the realization that he is bisexual and can't deny his same-sex attraction any more. Hank is in love with Larry. They just have one problem. Larry doesn't believe in monogamy. Larry is openly promiscuous. Larry loves Hank and wants a relationship with him, but he insists on being able to have sex with other men as well. He makes the distinction that he's not into having threesomes or orgies. He just wants an open relationship.

This discussion and struggle about what the bounds of gay or queer relationships should be is one that is still relevant and topical to today. Polyamory or polyamorous relationships have certainly become a thing that is seeping more and more into the mainstream. It's certainly become a more prevalent or trending thing in independent, queer cinema. The crux of Hank and Larry's dilemma is Hank's previous life as a heterosexual, married man because it's one that still has hooks in him. It's not that heterosexuals have a monopoly on monogamy, but it's a configuration that Hank is certainly accustomed.

Brian Hutchison, who is a long-time Broadway actor, plays Alan, a lawyer who is a college friend of Michael. They went to school together in Washington, DC, where Alan currently lives. Yet, he's in New York for some unknown reason. He seems to be going to some function that requires he be dressed up in almost a tuxedo. He crashes the birthday party because he's upset and wants to talk to Michael. Despite Alan being married for nine years with two little girls, Michael assumes that Alan is secretly gay. The struggle to get Alan to admit and thus admit a self-hatred in him perhaps greater than Michael's becomes the thrust in some ways of the film.

Michael forces this struggle through a game that he concocts and then compels all the men in his apartment to play. It's a telephone game. He uses it to elicit the true feelings of many of these men who are keeping those feelings buried. However, he gets very hostile and virtually bullies each of the men to expose those buried feelings. His sternness might come across as a kind of rage. For some, it's a difficult catharsis. For some, it might be tearing open old wounds. It could also come across as a crucible for healing. Yet, it doesn't come without Michael burning himself.

Rounding out the cast includes Charlie Carver (Desperate Housewives and Teen Wolf) who plays the unnamed "Midnight Cowboy" or male escort. There's also Michael Benjamin Washington, another Broadway actor, who plays Bernard, the librarian who deals with homophobia and racism as a black gay man. Finally, we have Robin de Jesús (In the Heights and La Cage Aux Folles) who was nominated for a Tony Award for his performance in the 2018 play. He plays Emory, the most effeminate of the group who certainly challenges the other, more masculine members here.

Rated R for sexual content, full-frontal nudity, language and drug use.
Running Time: 2 hrs. and 2 mins.

Available on Netflix.