The Boys in the Band

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This article is about the film. For the play, see The Boys in the Band (play). For other uses, see The Boys in the Band (disambiguation).
The Boys in the Band
The Boys in the Band-1970 movie poster.jpg
Theatrical release poster
Directed by William Friedkin
Produced by Mart Crowley
Kenneth Utt
Dominick Dunne
Robert Jiras
Screenplay by Mart Crowley
Based on The Boys in the Band 
by Matt Crowley
Starring Kenneth Nelson
Leonard Frey
Cliff Gorman
Laurence Luckinbill
Frederick Combs
Keith Prentice
Robert La Tourneaux
Reuben Greene
Peter White
Cinematography Arthur J. Ornitz
Edited by Gerald B. Greenberg
Carl Lerner
Production
company
Distributed by National General Pictures
Release dates
  • March 17, 1970 (1970-03-17)
Running time 118 minutes
Country United States
Language English
Budget $5.5 million
Box office $3.5 million (US/ Canada rentals)[1]

The Boys in the Band is a 1970 American drama film directed by William Friedkin. The screenplay by Mart Crowley is based on his Off Broadway play of the same title. It is among the first major American motion pictures to revolve around gay characters and is often cited as a milestone in the history of queer cinema.

The ensemble cast, all of whom also played the roles in the play's initial stage run in New York City, includes Kenneth Nelson as Michael, Peter White as Alan, Leonard Frey as Harold, Cliff Gorman as Emory, Frederick Combs as Donald, Laurence Luckinbill as Hank, Keith Prentice as Larry, Robert La Tourneaux as Cowboy, and Reuben Greene as Bernard. Model/actress Maud Adams has a brief cameo appearance as a fashion model in a photo shoot segment in the opening montage of scenes.

Plot[edit]

The film is set in an Upper East Side apartment in New York City in the late 1960s. Michael, a Roman Catholic and recovering alcoholic, is preparing to host a birthday party for his friend Harold. Another of his friends, Donald, a self-described underachiever who has moved from the city, arrives and helps Michael prepare. Alan, Michael's (presumably straight) old college roommate from Georgetown, calls with an urgent need to see Michael. Michael reluctantly agrees and invites him to come over.

One by one, the guests arrive. Emory is a stereotypical flamboyant interior decorator; Hank, a soon-to-be-divorced schoolteacher, and Larry, a fashion photographer, are a couple, albeit one with monogamy issues; and Bernard is an amiable black bookstore clerk. Alan calls again to inform Michael that he isn't coming after all, and the party continues in a festive manner. But, unexpectedly, Alan has decided to drop by after all, and his arrival throws the gathering into turmoil.

"Cowboy" – a male hustler and Emory's "gift" to Harold – arrives. As tensions mount, Alan assaults Emory and in the ensuing chaos Harold finally makes his grand appearance. Michael begins drinking again. As the guests become more and more intoxicated, the party moves indoors from the patio due to a sudden downpour.

Michael, who believes Alan is a closeted homosexual, begins a telephone game in which the objective is for each guest to call the one person whom he truly believes he has loved. With each call, past scars and present anxieties are revealed. Michael's plan to "out" Alan with the game appears to backfire when Alan calls his wife, not the male college friend Justin Stewart whom Michael had presumed to be Alan's lover. As the party ends and the guests depart, Michael collapses into Donald's arms, sobbing. When he pulls himself together, it appears his life will remain very much the same.

Cast[edit]

Production[edit]

Mart Crowley and Dominick Dunne set up the film version of the play with Cinema Center Films, owned by CBS Television. They originally wanted the play's director, Robert Moore, to direct the film but Gordon Stulberg, head of Cinema Center, was reluctant to entrust the job to someone who had never made a movie before. They decided on William Friedkin who had just made a film of The Birthday Party by Harold Pinter which impressed them.[2]

Friedkin rehearsed for two weeks with the cast. He shot a scene that was offstage in the play where Hank and Larry kiss passionately; the actors who played them were reluctant to do this on film but eventually decided to. Friedkin then cut it in editing feeling it was over-sensationalistic; he says now he wishes he had kept it in.[3]

The bar scene in the opening was filmed at Julius in Greenwich Village.[4] Studio shots were at the Chelsea Studios in New York City.[5] According to commentary by Friedkin on the 2008 DVD release, Michael's apartment was inspired by the real life Upper East Side apartment of actress Tammy Grimes. (Grimes was a personal friend of Mart Crowley.) Most of the patio scenes were filmed at Grimes' home; the actual apartment interior would not allow for filming, given its size and other technical factors, and so a replica of Grimes' apartment was built on the Chelsea Studios sound stage, and that is where the interior scenes were filmed.

Songs featured in the film include "Anything Goes" performed by Harpers Bizarre during the opening credits, "Good Lovin' Ain't Easy to Come By" by Marvin Gaye and Tammi Terrell, "Funky Broadway" by Wilson Pickett, "(Love Is Like A) Heat Wave" by Martha and the Vandellas, and an instrumental version of Burt Bacharach's "The Look of Love".

Critical reception[edit]

The film has a pure 100% rating on Rotten Tomatoes based on 15 reviews.[6]

Critical reaction was, for the most part, cautiously favorable. Variety said it "drags" but thought it had "perverse interest." Time described it as a "humane, moving picture." The Los Angeles Times praised it as "unquestionably a milestone," but refused to run its ads. Among the major critics, Pauline Kael, who disliked Friedkin, was alone in finding absolutely nothing redeeming about it.

Vincent Canby of the New York Times observed, "Except for an inevitable monotony that comes from the use of so many close-ups in a confined space, Friedkin's direction is clean and direct, and, under the circumstances, effective. All of the performances are good, and that of Leonard Frey, as Harold, is much better than good. He's excellent without disturbing the ensemble . . . Crowley has a good, minor talent for comedy-of-insult, and for creating enough interest, by way of small character revelations, to maintain minimum suspense. There is something basically unpleasant, however, about a play that seems to have been created in an inspiration of love-hate and that finally does nothing more than exploit its (I assume) sincerely conceived stereotypes."[7]

In a San Francisco Chronicle review of a 1999 revival of the film, Edward Guthmann recalled, "By the time Boys was released in 1970 ... it had already earned among gays the stain of Uncle Tomism." He called it "a genuine period piece but one that still has the power to sting. In one sense it's aged surprisingly little — the language and physical gestures of camp are largely the same — but in the attitudes of its characters, and their self-lacerating vision of themselves, it belongs to another time. And that's a good thing."[8]

While not as acclaimed or commercially successful as director Friedkin's later work, Friedkin considers this film to be one of his favorites. He remarked in the 2011 documentary Making The Boys: "It's one of the few films I've made that I can still watch."

Home media[edit]

The Boys in the Band was released on VHS videocassette Fox Home Entertainment on December 6, 1980. It was later released on laserdisc.

The DVD, overseen by Friedkin, was released by Paramount Home Entertainment on November 11, 2008. Additional material includes an audio commentary; interviews with director Friedkin, playwright/screenwriter Crowley, executive producer Dominick Dunne, Pulitzer Prize-winning writer Tony Kushner, and two of the surviving cast members, Peter White and Laurence Luckinbill; and a retrospective look at both the off Broadway 1968 play and 1970 film.

A 2011 documentary, Making the Boys, explores the production of the play and film in the context of its era.[9]

Awards and nominations[edit]

Kenneth Nelson was nominated for the Golden Globe Award for New Star of the Year - Actor. The Producers Guild of America Laurel Awards honored Cliff Gorman and Leonard Frey as Stars of Tomorrow.

References[edit]

  1. ^ "Big Rental Films of 1970", Variety, 6 January 1971 p 11
  2. ^ Friedkin p 133
  3. ^ Friedkin p 137
  4. ^ Journey to an Overlooked Past - The New York Times - June 11, 2000
  5. ^ New York: The Movie Lover's Guide: The Ultimate Insider Tour of Movie New York - Richard Alleman - Broadway (February 1, 2005) ISBN 0-7679-1634-4
  6. ^ The Boys in the Band at Rotten Tomatoes
  7. ^ Vincent Canby (18 March 1970). "The Boys in the Band (1970)". The New York Times. Retrieved 2008-10-13. 
  8. ^ Edward Guthmann (15 1January 999). "'70s Gay Film Has Low Esteem". The San Francisco Chronicle. Retrieved 2008-10-13. 
  9. ^ http://www.imdb.com/title/tt1413493/
  • Friedkin, William, The Friedkin Connection, Harper Collins 2013

External links[edit]