An Exercise In Nonsense

A lot of fun.

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

In the late 80s, Harvey Fierstein had his play, Torch Song Trilogy, adapted into a movie from New Line Cinema, which was generally well received by critics and audiences for its themes of homosexuality getting around in the 70s before it was fully accepted nationwide. While I have not seen the original play itself, I think the move to cinema works in favor of Fierstein's creation, mainly for how it brings a rather intense feel to the problems that homosexuals went through in New York prior to the AIDS epidemic, and I think they did quite a good job bringing it to the big screen.As this is a trilogy by title, the whole film centers around the life of a gay Jewish man named Arnold Beckoff (Fierstein) who refuses to conform to anyone else's ideas, even his uptight mother (Anne Bancroft). Considering that Arnold Beckoff found out he was gay at age thirteen, he chose to be a pretty successful drag entertainer to make amends with life. Along with the soon to be mentioned side archs, what's really interesting about the film is the contrast between Arnold and his relatives. Based on her generation, Ma Beckoff just thinks being gay is a phase, but by the time Arnold is in his mid thirties, it only disproves her point, causing some meaty drama between the two that really sells the feature. As the film showcases Arnold's career as a drag queen, we see that his love life is pretty tumultuous to say the least. The one true love of his life is a bisexual named Ed (Brian Kerwin) who doesn't really see himself as being homosexual. It's interesting when Arnold calls him out by saying he'd like to meet at least one bisexual who is open with his gaylife, but would rather keep his women a secret. This creates much chemistry and bickering between Arnold and Ed, as Arnold's love issues conflict with Ed failing to contain any deep values, making Ed more than just an unsophisticated "hayseed" who Arnold just cannot get behind.Later, after a disastrous performance, a young male model named Alan (Matthew Broderick) ends up falling for Arnold, and Broderick sells the same charismatic charm he displayed as Ferris Bueller. It's through their relationship that Arnold feels like he has found the next true love of his life, and one particular scene where they spend the night at Ed and Laurel's house (his former fiance), they fully persist their lovelife after jokingly testing it to the other two. It's only upon Alan's tragic death during a massive gang fight from a pack of homophobic street thugs that the film really brings an emotional gut-punch to the audience, let alone Arnold, and it's sad to say that events like these are not too uncommon today.The final arch in the film details Ma Beckoff visiting Arnold who is in shock when she discovers that he has planned legal adoption of a gay teenage son, David (Eddie Castrodad), leading to many arguments where Arnold demands that she accept him for who he is, going as far to say that she has no place in his life if she can't do so otherwise. I'm sure anyone who is part of the LGBT community can relate wholeheartedly, as such debates between a mother and offspring can resonate with people who suffer emotionally due to their place in society. While they do somewhat make up with one another, especially with Arnold's successful new career with his own stage revue, it makes him a much more complete man and we see just how coming to terms with one's parents never really works without drama.On a notable note, although far and few in between, the drag shows are very well choreographed, funny and even colorful, as director Paul Bogart and cinematographer Mikael Salomon fully display the raw energy and charisma found in the one stage performances. The makeup department also deserves much praise, as they really get the aesthetic and feel of drag queen material down and I'm sure they had a lot of fun putting it on the performers. In addition, Fierstein did co-write the song Dames, and it perfectly sets up the comedic tone that is displayed throughout the drag shows, giving some much needed humor in a very realistic film. All in all, Torch Song Trilogy transfers quite well from the stage to the screen, which could not have been done without Fierstein or Bogart's involvement. As it is a rather personal nostalgic project arguably based on his own gay male life, it details the general dilemmas of growing up gay at a time when it was yet to be accepted by most people. If you're interested in checking out a film that details the struggles of homosexuality or if you're into anything featuring Fierstein, then this is just the film for you. It's quite admirable how Fierstein has never even tried to undermine his dedication for LGBT rights while displaying his versatile talents to his people and everyone else in general. So, here's to more fun projects with the man who really knows how to connect with the flaws of society and minorities.

A notable film on several levels. First, it was way ahead of America in being a relatively mainstream film that treated gay men as people of depth, value, humor and worth making a film about. (Although there is sad irony in the fact this huge hit play took so long to make it to the screen that AIDS had already totally altered the landscape by the time of its release. That's something the film only notes in the closing credits, and gives it a bit of a 'rose colored glasses' hue). But beyond any politics or social significance this is also a very well acted, funny and moving look at one man, Arnold, (played by the unique and charismatic Harvey Firestein, who wrote the play and screenplay) as he looks for love – both romantic and familial in a sometimes very cold world. If Firestein's performance can occasionally feel theatrical, it's also entirely appropriate for the starting-to-age drag queen performer he plays. What's wonderful is how Firestein always keeps the humanity under Arnold's occasional flamboyance very alive, as does Anne Bancroft as his 'difficult' mother. Later in her career Bancroft could tend towards theatricality on screen as well, but she tones it down just enough to feel real here, and anyway, lets face it, next to a drag queen, who is more innately dramatic than a Jewish mother? (I grew up with one, trust me). Matthew Broderick and Brian Kerwin also do very good work in support, Broderick as a sexy but understated young man totally at ease with his sexuality, and Kerwin as a confused bi- sexual trying to work out his. While never rising to the level of a great film (the direction is very straightforward and bland, there's almost a TV movie look to it, it never completely surpasses it's theatrical origins), it's certainly a good, touching, human, and important one – although to a generation growing up with the reality of gay marriage and deeper integration of gay people into society, some of the historical importance may be lost. But not the essential, timeless embrace of kindness, love, respect and understanding

I was fortunate enough to see one of the 1222 performances of Torch Song Trilogy when it was on Broadway, a show written and starring Harvey Fierstein who with this success becomes a Brooklyn Jewish version of Noel Coward. Sad to say Torch Song Trilogy was tragically dated when it got to the screen because the AIDS epidemic had not occurred when Fierstein wrote this bittersweet tale of a gay life, and a man who refuses to conform to anyone else's ideas including his all powerful Jewish mother. And we know how formidable those folks can be.Fierstein is Arnold Beckoff who knew from early childhood he was a gay kid and took life as it came. In fact he became a drag entertainer of note and seems to be doing quite well at it, making a living, much to the consternation of his mother Anne Bancroft. I saw Estelle Getty do this on Broadway and I wouldn't want to split hairs on the differences between the two actresses. Like so many of her generation, Bancroft just thinks being gay is a phase that her son will grow out of. Of course by his mid thirties you'd think she would have a clue. As on Broadway the scenes between Mrs. Beckoff and her son have the real meat of the play.As you might have guessed Torch Song Trilogy had its beginnings in the gay cabaret scene and through the persistence of Harvey Fierstein it got to Broadway. On stage the various scenes which are more segmented than in the film version are punctuated by a cabaret singers doing various torch song ballads to put a coda on what the audience had just seen. Here the torch songs are relegated to background music, the best kind of background music to be sure. Harvey himself however does perform in his drag character.The one true love of his life is Brian Kerwin who can't quite accept himself as gay. He's comfortable being 'bisexual', but as Fierstein so accurately points out, he'd like to meet just one bisexual who is open with his boyfriends, but keeps his women a big old secret.Kerwin is always an interesting player to watch. He got his first notice as the hayseed deputy on the Sheriff Lobo series and he's spent the rest of his career making sure he was NEVER cast in that kind of part again. As the troubled love of Harvey's life, Kerwin certainly proves he's more than a hayseed. Because Kerwin won't be true to himself, Harvey looks for love elsewhere. Harvey's not capable of closeted behavior, the closet would be death for him.Matthew Broderick plays Alan the young male model who Harvey falls for and he's as winning here as he is in Ferris Bueller's Day Off. In fact he's a gay Ferris Bueller who probably did spend time trying to get into adult gay clubs and knew all the places where they'd wink and let him in. His tragic end at the hands of a gang of homophobic street thugs is something I saw all too much of in my working life at Crime Victims Board. Torch Song Trilogy transfers quite well from the stage to the screen and with Harvey Fierstein helping with the transfer, we'd expect nothing less. He kept the film true to the vision of gay male life that he saw and lived. I still remember he and I were both witnesses at the gay rights hearings in New York City back when Torch Song Trilogy had just finished its Broadway run. His words there were among the most inspiring. So this review is dedicated to the author and star of Torch Song Trilogy who has never slackened in his dedication for Gay/Lesbian/Bisexual/Transgender Rights and gives of himself and his talents to his people. From your fellow Brooklynite Harvey, with love.

EThe film version of Harvey Fierstein's own play TORCH SONG TRILOGY is an entertaining comedy which, though stretches credibility, remains a watchable motion picture for those who are comfortable watching films dealing with gays and gay issues. The movie is the story of a drag queen named Arnold and how he deals with life offstage through relationships with men and with his overbearing mother (the fabulous Anne Bancroft). As much as I admire Fierstein as a writer and performer, he seems to be suffering that Woody Allen syndrome where he has a rather distorted view of his own sexual attractiveness. Not to be cruel, but I found it hard to swallow that guys who looked like Brian Kerwin and Matthew Broderick would be attracted to a guy who looked like Harvey Fierstein, but if you can accept that, the film is imminently watchable with strong performances from Kerwin, Broderick, Bancroft, and Eddie Castrodad as David, a gay teen that Arnold adopts. Broderick played David in the original production of the play, but in the movie he plays Harvey's lover. An entertaining film with a unique story, a couple of disturbing messages, and some very good performances.