Philadelphia

1993's PHILADELPHIA may seem incredulous to contemporary viewers for a myriad of reasons.  Mainly for the attitudes of several characters toward Andrew Beckett (Tom Hanks), an attorney who is dismissed from his large firm for alleged incompetence.  Andrew is a homosexual who has recently learned he has the HIV virus.  Lesions become visible, one noticed by a partner in his firm.  The firing is rightly believed to be related to Andrew's condition, coinciding with suspiciously missing paperwork for a case he was completing.

The attitudes of his former colleagues may not be so surprising; wagon circling is common in corporate culture. Long held prejudices and a lack of education about AIDS were to be expected in the years following the proliferating epidemic that ravaged many far beyond the gay community.  These attitudes are still very much in evidence today, perhaps brought to light even more given the outcome of the 2016 election.  Director Jonathan Demme and screenwriter Ron Nyswaner seemed to be groundbreakers with their movie, one even many of my so-called progressive friends avoided back in '93.  They felt uncomfortable with the subject, and even with the PG-13 rating were worried about scenes of gay intimacy.

Interesting that Denzel Washington, who was quoted as telling Will Smith "don't be kissing on no man" when the latter was cast in SIX DEGREES OF SEPARATION, plays personal injury attorney Joe Miller, who eventually represents Andrew despite a burden of homophobia. It should be no mystery to any viewer that Joe will eventually become more accepting (if not entirely tolerant) of Andrew and his lifestyle.

There were plenty of independent films that fearlessly and accurately examined gay culture and *gasp* treated these characters like normal people (1985's PARTING GLANCES).  Folks who, just like the rest of us, had concerns about paying bills and the infrastructures of their cities.  But Hollywood had always previously treated homosexuals as freaks, caricatures, mentally disturbed, psychotic, or walking jokes to be ridiculed (1982's PARTNERS) or even feared (1980's CRUISING).

PHILADELPHIA was nonetheless criticized by some in the gay community for playing it safe when it came to depictions of Andrew's social life, especially moments with boyfriend Miguel (Antonio Banderas).  I think the movie, while not perfect, is very tasteful and gives us just enough to understand Andrew Beckett and his struggle to assimilate into an old boys' club firm.   Forced to smile along with crude jokes.  Those who grew up watching shows like Will & Grace, where a gay character could be a professional without suffering slings and arrows, will find Andrew's pariah status a bit foreign, but it's accurate.  Demme handles every moment with sensitivity and respect.

That imperfect script has its implausibilities, mainly how every single member of Andrew's extended family is entirely accepting of him.  I just didn't believe it, if for no other reason than that old law of averages.  I also originally found the lengthy scene in which Andrew reacts to the beauty of Maria Callas' "La mamma morta" opera while Joe watches to be out of place, too precious.   It seemed liked it belonged in a different movie, but upon revisiting,  further exemplifies Andrew's character, and points the way for later movies and television shows to assume a more abstract yet direct, daring examination of a culture that still baffles, angers, and frightens many people.