#Philadelphia 1993

[the-mechanica]

my problem really deeply is how shallow a tolerance younger people have for old queer media. like yes, it's dated and some of the politics don't hold water anymore, but to ignore older media simply based on that is to loose EVERYTHING we have bc we don't have a lot. just because queer themes caught up more recently doesn't mean we should rehash everything to fit into a more "presentable" format that is only considered modern bc of the puritanical blacklash of the last several years and sanitization of queer themes.

[90smovies]

[behindthesefangirleyes]

I’d like to thank not only God, but Jesus 🥹

x

[kabbal]

My birthday gift for @riiversndroads ! it's a companion piece to @kaantt's fic Andrew's Tales.

[wen-kexing-apologist]

Bengiyo's Queer Cinema Syllabus

I am currently working my way through Unit 4: Heartbreak Alley, the totally light-hearted, definitely not agonizing section of @bengiyo's queer cinema syllabus where I get to watch countless acts of violence be committed against queer people. Thank fuck I have Lesbians waiting for me at the end of this unit. The films in Unit 4 are: Bent (1997), Strange Fruit (2004),Boys Don’t Cry (1999), Brokeback Mountain (2005), Parting Glances (1986), Philadelphia (1993), The Living End (1992), Holding the Man (2015), Jeffery (1995), and Boys on the Side (1995).

Today i will be talking about

Philadelphia (1993) dir. Jonathan Demme 

[Run Time: 2:05, Available on: YouTube for rent, Google Play, Amazon, Lang: English]

Summary: When a man with HIV is fired by his law firm because of his condition, he hires a homophobic small time lawyer as the only willing advocate for a wrongful dismissal suit.

Cast: * Tom Hanks as Andrew Beckett * Denzel Washington as Joe Miller * Antonio Banderas as Miguel

___

To steal a comment from @lurkingshan, it has been awhile since I’ve watched a good legal thriller. Philadelphia is brilliant, and I don’t just mean in the general sense, I mean it is smart. It is smart in how it sets itself up. We start with Andy and Joe on opposites sides of a court room, we can see the rapport between them, but we set them up on opposite sides from the beginning. We move from there to Andy at the hospital, receiving his transfusions, looking across the way to a man whose karposi’s sarcoma has advanced to the end stages a look to where Andy himself will end in this film. And then to Andy’s law office where there is physical touch, after physical touch, after physical touch. Some that happen so quickly, others that linger, that the camera focuses in on, and I only wish that we’d seen Andy the day after that meeting, because I would be curious to see if and how the physical touches changed with people in the office. 

But that’s not what we get, and we don’t really need it because what is truly important is that Andy is sicker than he originally let on. The point is that the law firm set Andy up while he was away. The point is that at so many stages in this film I was mad. And that was how I was supposed to be. I was mad at all the homophobic pieces of shit that were sitting there making excuses, that based a significant portion of their legal argument about not discriminating against Andy because he was gay with HIV, by trying to discredit Andy’s character because he was gay. [and of course the law office used a woman as their representation and had a Black man at their table as well…you know they were really trying to look good]

gif by @rancidtofu

You might know by now that I love a complicated relationship, so I was really thrilled that Joe eventually decided to represent Andy. Because Joe was homophobic as fuck, and he very much did not want to take the case. But again this film is smart, we never have to hear from Joe’s mouth or anyone’s for that matter that Joe decided to work with Andy after seeing how he was being treated by the librarian, but we know there’s no way it isn’t informed by experiences of racism in Black communities. The way Joe was stared at by a library worker when he was sitting at his table, the way Andy was stared at by a library worker when he was sitting at his table. The way Andy was being suggestively ushered away to somewhere out of view to other library patrons. 

I loved that Joe was viciously homophobic because it demonstrates so well the boundary between work and personal life. Joe is able to do his job and do it well, and eventually after months of working with Andy, is able to come around, even touching Andy’s face which we know even has a lesion on it, by the end of the film. That is huge from someone that started the film literally running immediately to the doctor to make sure he didn’t have AIDS from shaking Andy’s hand. From a modern lens I can totally see how that would probably feel stereotypical or derivative or something like that but I think it is important to keep in mind that this film was one of the first Hollywood movies to feature HIV/AIDS and also portray gay people in a positive light. I haven’t actually been adding the for/by/about designations to the Heartbreak Alley films because something about doing that didn’t really sit right to me when we’re discussing the violence to and death of queer people. But this film definitely was not made for queer people, and Tom Hanks acknowledges that he was cast in the role for his “non-intimidating screen persona” and that “one of the reasons people weren’t afraid of this movie was because I was playing a gay man.” 

The casting here was strategic to further assist audiences in sympathizing with a gay, HIV positive character. 

gif by @rancidtofu

I really love all the little moments of solidarity, the smiles between the Black secretary at the law office and Joe because They Know™ about experiences of discrimination in the workplace. The solidarity between the secretary with AIDS and Andy. I loved that a Black woman was teaching Andy how to apply make up to cover his lesions. I loved that Andy’s entire family knew that he was gay, knew he had AIDS, knew he had a partner and that they all loved and accepted him, and that he had so many people in his life that truly, well, and deeply cared for him. 

And I love how that is used to deliver maximum emotional impact, at least to me, in one single stupid opera line. 

I genuinely enjoyed essentially sitting in a court room for two hours watching Joe strategize, and execute his traps for the jury to win them over. I love how you know that they have won the second that a juror repeats verbatim a line Joe had said repeatedly throughout the trial. I am grateful the film was kind enough to let Andy be awake and alert enough to know that they had won. That his one of his last acts on earth was getting to engage with the part of law he loved most: “that every once in awhile, not often, but occasionally, you get to play a part in justice being done” Justice was done here, Joe and Andy both played a role in what could potentially become another precedented case in the roster to build towards a stronger future for gay people in the workplace. I think that (though likely coupled with how much his body was beginning to fail) is what finally made him ready to go. Because for so much of this film he would hesitate when it came to death. 

gif by @rancidtofu

He froze over the line “the actual physical [death]” when quoting the line about AIDS causing a social death. He talked about planning his memorial to try to get a reaction out of Miguel, and when Miguel gave him a response he very much did not want to hear “maybe you should” he took Miguel to a party, he talked about opera instead of practicing his Q&A. 

I am grateful the film ends at his memorial, not just for the memories, though I am especially glad it ends on a video of Andy as a child (to appeal to the ‘he was somebody’s kid type of crowd) but that the memorial was not entirely gloomy. There was life, there was conversation, there were smiles, it made things feel more real. Just like all “see you tomorrow” lies everyone knew they were telling themselves felt real. 

Tom Hanks and Denzel Washington are such powerhouses of actors and I am so so grateful that they did this project together. 

Favorite Scene 

(I am acknowledging that these gifs by @antoniosbanderas have nothing to do with my listed favorite scene, but I just need you all to know that the scene of these two laying in bed was cut from the final edit of the film, so I didn't actually get to watch it, so now you know it exists if you didn't already)

My favorite scene is when the law firm is questioning Melissa Benedict, a secretary that used to work with one of the lawyers in his previous firm. Melissa was diagnosed with AIDS after a blood transfusion, and she was put on the stand to prove one of the lawyers knew what AIDS lesions looked like and therefore was able to identify that Andy had HIV a week before he was fired. 

I was ready to reach through my screen to smack a bitch when the law firm’s representation started trying to make a moral argument, that Melissa’s AIDS was acceptable AIDS to have in an office because she involuntarily contracted the disease through a medical procedure, whereas Andy had had gay sex and therefore voluntarily risked acquiring HIV. And you can just see Melissa looking over at Andy so often when the law firm is trying to make this argument, and trying to get Melissa to answer questions in a way that would make her seem like she is actually of the law firm’s opinion. 

And she doesn’t let them do that to Andy. Instead she looks right at him and she qualifies her response saying: “But I don’t consider myself any different from anyone else with this disease. I’m not guilty, I’m not innocent, I’m just trying to survive” and it is just a beautiful moment for me. Especially because this film is trying to portray queer people in a positive light, having a straight, white woman with a disease she had no way of preventing say that she was just like anyone else with AIDS is hugely important to driving that message home. 

Favorite Quote 

gif by @fran-kubelik

I am so sorry in advance for how long this quote is, and that 90% of it is technically just Andy translating an opera but: 

“‘Look the place that cradled me is burning.’ Do you hear the heartache in her voice? Can you feel it Joe? Now in come the strings and it changes everything. It’s like the music, it fills with a hope. And that’ll change again. Listen. Listen. “I bring sorrow to those who love me” oh oh that single cello. “It was during this sorrow that love came to me.” (sobbing) “A voice filled with harmony. It said, live still. I am life. Heaven is in your eyes. It’s everything around you. It’s the blood and the mud. I am divine! I am oblivion. I am the god that comes down from the heavens to the earth and makes of the earth a heaven. I am love. I am love.” 

The level of emotion, the implication behind each and every line that he translates, the way that those lines spoke to me as a queer person. “Look the place that cradled me is burning” this body, his body is failing; this life, his life is coming to an end. “I bring sorrow to those who love me” we see that with Andy’s mom, with his entire family for that matter, we see how loved he was and know that his death is going to be a devastating blow for a lot of people. “It was during sorrow love came to me” Miguel is there for all of it, through all of it. When he collapses in court, his family is the first to get to him, to try to help him. When he’s in the hospital the entire hallway is flooded with people that love him. Andy breaks at this point in his monologue, choking out the line “A voice filled with harmony. It said, live still. I am life. Heaven is in your eyes. It’s everything around you. It’s the blood and the mud.” I do not think Andy was ready to go until the very end when he finally said he was. Live still. Andy wants to live still. I am life. Heaven is in your eyes. It’s everything around you. It’s the blood and the mud. He will see Heaven soon, he is looking at the world through the lens of a dying man. “I am the god that comes down from the heavens to the earth and makes of the earth a heaven” We have one life to live, we should use it well, Andy has so much love in his life, that’s truly such a heavenly thing to have. He is seeking justice, in such a way that others might be protected the way he wasn’t. “I am love. I am love.” 

I just. 

I don’t know y’all I just really liked this film. 

Score 

9.5/10

I’m salty that Denzel wasn’t nominated for an Oscar, though I am wholly unsurprised, and I am glad Tom Hanks won and that his speech included praise of Denzel. 

““And an actor who put his film image at risk and shown because of his integrity, Mr. Denzel Washington who I very much share this with”

Lovely film, highly recommend.  Now on to The Living End

[todayinhiphophistory]

Today in Hip Hop History:

The Roots released their debut album Organix May 19, 1993

[sharpth1ng]

Did sid and tatum know about billy and stu, or at least have any suspicions? ESPECIALLY THE MOVIE BATHROOM SCENE like surely one of them noticed how long they were gone and along with all the other gay shit and started to suspect something queer was going on

I think Tatum knows there's something up, like Stu is so obviously and openly into Billy it would be hard to ignore that as his girlfriend. He constantly sides with Billy, chooses him over pretty much everything else.

Honestly with Sid I see her as pretty checked out after her moms death, I don't really think she's all that present with Billy when they spend time together, and I think Tatum is also focused on her and making sure she's ok. Like the only reason they get away with the bathroom hookup during The Craft is that their girlfriends are also more focused on each other than they are on their boyfriends.

I truly think Tatum likes Stu and has fun with him, but from the conversations she has with Sid (like convo in the grocery store) I don't think she sees him as a life partner, and I doubt she expects them to stay together when they go to college the next year. I think if Stu straight up told her he was in love with Billy she would think he had bad taste but I don't think she would be devastated or even all that surprised.

Id say Sid also knows there's vibes happening, especially from the way she talks to them at the end of the movie and the queer-coded insults she directs at Billy specifically. After their behaviour in the kitchen I feel like you would need to be completely oblivious not to see that something is going on.

That said, with her I think she's kind of existing in a trauma fog through the movie, basically until the end when she snaps and starts fighting back, I think it's this moment of her seeing Billy clearly, instead of seeing him through her guilt and loss. So I don't think she necessarily put it together before the end of the movie but I think it was sort of hanging out in the back of her mind.

The other factor here is that queerness only really came into mainstream cultural awareness in the 90's. There wasn't much open or explicit gay shit happening in media, so I think it's also not something people would be reading into other peoples behaviour as quickly as we do now, which is how I think they get away with as much as they do. They're just boy best friends, right? And to the outside world Billy seems mostly annoyed with Stu. Even now, in 2023 people on twitter are reading these dudes as straight. Wild.

[camyfilms]

PHILADELPHIA 1993

Some of these people make me sick. But a law's been broken here. You do remember the law, don't you?

[quitecontraryy]

Ain't no angel gonna greet me It's just you and I, my friend And my clothes don't fit me no more A thousand miles just to slip this skin The night has fallen, I'm lyin' awake I can feel myself fading away So receive me brother with your faithless kiss Or will we leave each other alone like this

[history105rockandrollblog]

Lecture 19: Here is one of Bruce Springsteen’s most memorable and haunting hits from the 1990s, “Streets of Philadelphia,” from the soundtrack to Jonathan Demme’s 1993 film Philadelphia. Note that Springsteen is actually singing the song as he walks, which is the version of his vocals used in the video. He used his home studio in New Jersey to record the “Streets of Philadelphia,” which is where he made his acclaimed Nebraska album. The song won the Academy Award in 1994 for Best Original Song.

[rwpohl]

streets of philadelphia, bruce springsteen 1993

[gracie-bird]

"East Falls' princess gets her postage due" - The Philadelphia Enquirer, Sat, Mar 27, 1993 ·Page 12.

[deramin2]

I don't know how to really express this except to come across as a "kids these days" scold, but so much of the criticism of queerness in Good Omens would simply not be a thing if kids these days watched more 20th century queer media. Or more complex indie queer media in general.

People seem to want a show that's like the straight stories they grew up with but gay. Or the gay fanfiction they grew up with. But that's not really the tradition it's coming from. First off the novel was released in 1990. Queer film classics of the time are Dead Poet's Society (1989) and Torch Song Trilogy (1988). The TV miniseries Tales of the City (1993) wasn't made until 3 years later and it was so far out there it never had a huge audience. Philadelphia (1993) is also 3 years out and was basically the first big studio queer film. The first fluffy queer Hallmark-style romcom wasn't until Big Eden in 2000, a full 10 years after publication.

Queer stories from the time it was written were about complex and often fraught relationships between people who the world was trying to force apart. There is an incredibly strong tradition in queer films of relationships with no guarantees they will work out both in the face of their personal baggage and the weight of the world. Take a film like Torch Song Trilogy that's about the two great loves of Arnold Beckoff's life over 9 years and how homophobia shapes them. Both externally (especially Allen) and internally like Ed struggling with his bisexuality and being terrified of being publicly out. Written and starred in by Harvey Fierstein, who identified as a gay man at the time and only came out as nonbinary last year.

The Boys In The Band (1968 play, filmed 1970 and 2020) was a monumental moment in Broadway history where finally there was a play about gay men in their own words where no one died and very strongly showed that homosexuality doesn't make people miserable but homophobia sure does. But that homophobia also throws their personal lives into constant turmoil and none of them are in happy relationships, although Hank and Larry are devoted to each other in their own fucked up way.

"Relationships are complicated and hard to make work and sometimes a struggle against the odds" is an aesthetic of classic queer film making. Partly it was influenced by the Hays Code (although independent films were not bound to it), partly influenced by the rampant queerphobia in society at the time that was inescapable. But it's also an aesthetic choice to resist the banal and unrealistic relationship depictions of straight media. There are actual stakes to the relationship. Queer people were actively resisting a world that said "Romance is seeing someone across the room and instantly falling in love with each other and little conflicts happen along the way but ultimately they're destined to be together and everything is happily ever after." Recall that "stalking as romance" was a completely inescapable trope in 1980s straight romance films, and every goddamn movie was being turned into a romance film.

So queer people in film and television when they can make what they please have a long tradition of saying instead "People don't always realize the feelings they've developed for a queer partner right away. They may have reasons for denying those feelings that are both a reflection of the cruelty in society and of their own insecurities. People struggle with where they belong and their relationships reflect that. Loving someone doesn't mean they don't also drive you crazy and you might fight with them constantly. But that doesn't negate the love or that feeling that even if things aren't okay, they're better with that person around. But maybe that person can't stay around. The world may be against you. And also maybe you don't just want that one person in your life. Soulmates is a very flawed model. Sometimes the strongest love is a struggle with yourself and the world and your person. You have to overcome yourself first. Happily ever after is a lie. You may be happy for a while, and hopefully for a long while, but everything ends. And you have to be ready to love again. Also your platonic bonds are just as important and life-altering as your romantic ones. Sometimes those platonic bonds include fucking if you want them to. Real life isn't a bunch of platitudes and world-altering moments, it's daily work to better yourself and the world around you. Especially when things just fucking suck. But also remember to have fun and fuck the haters. People who don't support you can eat rocks and you should yell at them more to shut the fuck up."

That is a fundamentally different outlook on what a "good relationship depiction" looks like. Personally, I thought I hated romance movies and then I started watching queer romance movies and discovered I love them and watch them all the time. Because it turns out what I hated was relationships being shown that had nothing at all to do with reality and privileged incredibly toxic ideals. Finally there was complexity, there were stakes, and there were people who had to truly want to be together enough to fight the world for it and not because they happened to be there. There were people actually talking out their problems and looking for resolutions. (And sometimes that resolutions was "I can't fucking deal with this bullshit anymore and I'm out.") For the first time it felt real.

I'm an aroace trans gay man. Nothing about relationships or being in relationships has come easy to me, and the whole paradigm of straight patriarchal romance depictions makes absolutely no sense to me. It's completely alien. Queer romance stories actually feel human.

And that's the tradition Good Omens is coming from, even as it's being retold in 2019-2023 and hopefully beyond. Gaiman's work has always been based in that queer media paradigm. (I've been remiss and daunted and haven't read Pratchett but from what I do know his work also seems to sit more in that world view.) It's a beautiful cinematic tradition and it's baffling to me that people would resist it instead of embracing it for being honest.

And that's when I turn into a crotchety old man complaining about the youth not connecting with the history of their beautiful culture and instead begging for assimilation into a shithole allocishet media landscape that doesn't actually want them except for their money and has nothing at all interesting or valuable to say. But it's very funny (annoying) to me when people claim Good Omens is someone against queer culture when it's so thoroughly bathed in the best of queer media's storytelling traditions and what people are asking for is straight media with the serial numbers filed off. Like, stop being boring please and know literally anything about the culture the adults in the room lived through and were influenced by. The world didn't begin in 2015.

EDIT: I also want to add that in straight media arcs are linear. Traditionally in queer media arcs are cyclical. Queer media very often depicts people going around in circles relearning the same lesson over and over as they inch towards it sinking in. But every time they go through the cycle they gain just a little bit more enlightenment and slowly move towards a better place. From the comments this is an immensely important distinction. People don't actually have cathartic moments where suddenly all their past bad programming is shed and they saunter forward a new person with none of their old baggage. In reality people fall into the same patterns over and over even though they have had every opportunity to learn better. "People magically get better" is a trope of straight media that's an outright and frankly dangerous lie. Again, Good Omens follows the queer tradition not the straight one and it's depicted 6,000 years of that cycle. The world didn't end, and the wheel keeps turning, as it always has and always will. That's so fundamental to queer storytelling traditions I forgot to even mention it.

[maturemenoftvandfilms]

Philadelphia (1993) - Robert Ridgely

Damn Robert Ridgely was a handsome man.

[in-love-with-movies]

Philadelphia (1993)