In the realm of classic gay and LGBTQA+ entertainment, there is nothing quite like Mart Crowley’s “The Boys in the Band.” Premiering off-Broadway in 1968, the play was a sensation and was adapted into a film by William Friedkin two years after its premiere. Now, Netflix has brought us a second film version for the plays 50th anniversary, retaining the same director, writer, and entire cast as the 50th anniversary Broadway revival.
This means that everyone in the cast is already intimately familiar with their characters and their performances show it. Jim Parsons (“The Big Bang Theory,” “The Normal Heart”) leads the cast as Michael, a middle aged, smartly groomed and fiercely opinionated gay man. His catty remarks and acidic dialogue are delivered wonderfully by Parsons who makes a strong impression from the very first moment.
Matt Bomer (“Magic Mike,” “The Nice Guys”) might not be second billed, but he’s the one who’s in the film the most besides Parsons. His character, Donald, is the closest thing the work has to an audience surrogate, yet Bomer still imbues him with an easy-going charm without sanding down the most interesting elements. Brian Hutchison (“Blue Bloods,” “Jessica Jones”) meanwhile doesn’t get the most screen time but certainly gets some of the meatiest material to deal with as Alan. The sole straight person as this exceedingly homosexual birthday party, his perspective is warped, and it’s just as shocking to see the events spurred by him play out now as they were in 1968 (perhaps more so).
Andrew Rannells (“Big Mouth,” “Girls”) and Tuc Watkins (“Desperate Housewives,” “The Mummy (1999)”), meanwhile, play Larry and Hank, a couple who are constantly fighting with each other over who they are and what they want and the chemistry and love between the pair is electric. Michael Benjamin Washington (“Ratched,” “Unbreakable Kimmy Schmidt”) and Robin de Jesús (“Camp,” “Gun Hill Road”) are Bernard and Emory, another couple attending the party and while they’re just as good as the rest of the actors, their plight is just the least interesting of the bunch. There’s also the character simply known as Cowboy, played by Charlie Carver (“Desperate Housewive,” “Ratched”), an attractive young man presented to the birthday boy, Harold, as a gift. He’s amusing enough but his is merely a one note character, misunderstanding fancy words and being attractive and dumb.
Speaking of Harold, he might only arrive about 45 minutes into the film, but when Zachary Quinto (“Star Trek (2009),” “NOS4A2”) struts on screen, he positively crackles with excitement. His is a role that is any actors dream, a persona so big it drapes over them like a duvet. He chews every line, delivers every word with a forked tongue, and yet imparts the most genuine reflection and wisdom of any character. It’s a performance for the ages plain and simple.
Given its origins as a stage play, most of “Boys in the Band” takes place in one location, and as smartly dressed and well shot as it is, by the film’s end it does start to feel like exactly what it is; a film all shot in one location. The warm amber lighting and 70’s furniture look immaculate, as does the nighttime terrace and corkscrew staircase. Its shot, by legendary cinematographer Bill Pope (“The Matrix,” “Scott Pilgrim vs. the World”) in a plain way that serves to accentuate the era its placed in.
The costumes, the set, the dialogue, the acting, its clear from the first few moments that this cast and crew know this material by heart. Performances and talent aren’t an issue here. And yet, there’s something lacking, not just in this adaptation, but in the source material itself.
Its not that the material lacks bite in our modern age, it definitely doesn’t. “Band” still excites and enthralls today just as well as it did in the 70’s. The problem is that those excitements don’t really come until about halfway through the film. Prior to that, it’s a lot of queer saying things, but signifying nothing. There are amazing moments, like when Hutchinson’s Alan first explodes, but it’s a far cry from the direction things go in the later half. One can argue that this is how it should work, a film should be more interesting as it goes, as one’s investment in the characters grows.
Yet, for some reason the first hour-ish of this 2020 “Boys in the Band” just feels like its nothing but quippy dialogue. It feels like watching a bunch of queens snap at each other while you’re waiting to get to the good stuff. It isn’t bad, it’s just passable.
Don’t misunderstand, director Joe Mantello’s (“Love! Valour! Compassion!,” “The Normal Heart”) “Boys in the Band” is still a great experience, but its not as good as the 1970 original. Those who are unfamiliar with the play in general will find this a pleasant, possibly even great, place to start, filled with terrific performances and shot gorgeously. It’s not quite as great as it could be, but its still a delightfully gay time. 3.5/5
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