Customer Reviews

Philadelphia [VHS]

5 star:		(84)
4 star:		(27)
3 star:		(9)
2 star:		(5)
1 star:		(4)

 

 

I purchase a lot of DVDs. For the past few years, it seems that almost every DVD comes in a special edition two-disc release that includes deleted scenes, documentaries, cast bios, trailers, teaser trailers, music videos, and the director's recipe for three-alarm chili. I usually don't have time to get beyond the first disc, and much of what I do get around to usually turns out to be as boring as it gets. This time, however, I am happy to report that the two-disc anniversary release of Philadelphia is worth both the money and the time invested in it, even if you already have Philadelphia on DVD.

The special features include the 84-minute documentary, One Foot On A Banana Peel and the Other In the Grave, an extraordinary piece of amateur filmmaking by an AIDS patient named Juan Botas. What I did not know was that Mr. Botas' AIDS diagnosis provided the inspiration for director Jonathan Demme to make Philadelphia in the first place, as Mr. Botas was best friends with Mr. Demme's wife. In the meanwhile, Mr. Botas mentioned to filmmaker Demme that it was a shame that the black humor, amazing courage and other interesting dialogue that emanated from his fellow patients at the clinic where he was being treated was being lost forever as it left their lips. Mr. Demme gave Mr. Botas his hand-held camera, and the results so impressed Demme that he wound up releasing the documentary through his own production company. The finished film is touching, oddly comic, tragic and as effecting as any piece of drama you've ever witnessed. One of the patients from the doctor's office was also given a few lines in the main feature, Philadelphia.

Which brings us to that film. At the time of its release, Philadelphia received some very harsh criticism from the AIDS community for its perceived flaws; it was judged by many as "too Hollywood" to be realistically representative of the HIV / AIDS experience. To their credit, in the background documentary included here, "People Like Us" (which was the original working title of Philadelphia) the creative team behind Philadelphia (including Jonathan Demme, Tom Hanks and the screenwriter Ron Nyswaner) meet this criticism head on, presenting a defense of their work that is both credible and illuminating. Many complained that Philadelphia was void of any tenderness or physical contact between the male couple (Hanks and Bandaras) but this is not only redressed by a closer look at their scenes together, an extremely intimate scene between the lovers in bed (which was excised from the final cut) was deleted not for its controversy but because the scene simply didn't work (having now seen it, I can attest to this fact). I have long seen this movie as not a film about AIDS per se, but as a film about homophobia. Indeed, the main thrust of the plot (besides the trial) is the transformation of the character of Joe Miller from committed homophobe to a more enlightened and tolerant person. One of my favorite scenes (which it turns out many people wanted to delete from the final cut) deals subtly with Millers transformation - the "opera scene".

In that scene, Miller is asked by the character or Andy what he thinks about gay people. The attorney responds that, when straight people think of them at all, most straight people pretty much see all gay people as some sort of sub-human predatory monsters, out to ensnare the children of the world into a twisted sick life, and destroy all that straight people hold dear. Andy abruptly changes the subject, "Do you like opera, Joe?" he asks. Caught by surprise, Joe admits he does not know anything about it - and Andy Beckett - this sub-human destroyer of children, responds by tenderly and passionately explaining his deep love for beautiful music by allowing Joe to see just a small piece of exactly why so many gay men love opera. He plays the aria La Mama Morte, carefully, passionately and articulately explaining the story and the beauty behind the words and music. Joe is immediately transformed - it's clear that he is deeply moved. By playing the piece, La Mama Morte through again in its entirety, the screenwriter and director shows us that the music has stayed with Joe long after he's left Andy's home. We see him leave Andy's apartment and go home in a sort of daze, kiss his sleeping baby and slip into bed with his slumbering wife, while the beauty of the music haunts and caresses him, like a gorgeous gay lullaby. Some of my gay friends were among those who didn't get this scene - they saw it only as a stereotypical depiction of a gay man's love for opera. I got it right away - by exposing Joe to a thing of beauty he'd never experienced before, Andy had suddenly allowed Joe to consider that gay men were not only something more than what he thought, he demonstrated that we are capable of enormous passion and the ability to appreciate delicate beauty. This scene, more than any other, allowed Andrew Beckett to be transformed from a predatory sub-human freak into a human being, not only for Joe Miller, but for many in the straight audience. It has remained one of my favorite scenes in a movie ever, and a small part of what makes Philadelphia such a powerful experience.

Highly recommended.

"This is the essence of discrimination: Formulating opinions about others not based on their individual merits, but rather on their membership in a group with assumed characteristics." (School Board of Nassau County v. Arline, 480 U.S. 273 (1987) (Brennan, J.), on remand, 692 F. Supp. 1286 (M.D. Fla. 1988)). This rule, reaffirmed by the landmark Supreme Court decision which, over the dissent of Chief Justice Rehnquist and Justice Scalia, first recognized the infection with a contagious disease (tuberculosis) as an actionable handicap under federal law, forms the initial bond between star litigator Andrew Beckett (Tom Hanks) and ambulance chaser Joe Miller (Denzel Washington), the unlikely team at the center of this movie. Because through these words, black attorney Miller begins to realize that his colleague Beckett faces a handicap which, in essence, is not so different from that confronted by many of his fellow African Americans. And because this is an incredibly effectively scripted Hollywood movie, we, the audience, easily get the point as well; even if we're white, and even if we're not gay and/or suffering from AIDS like Beckett.

Of course, the insidiousness of the AIDS virus places those afflicted with it in a class of their own, and while the movie spares its viewers the pictures of some of the virus's most graphic effects, it does go to considerable length to show the physical decline associated with it - not only in the person of Beckett himself, for whose role Hanks literally almost starved himself. Some of the patients surrounding him in the movie's earlier emergency room scenes really were AIDS patients, whom Hanks had approached when preparing for the movie, and who had subsequently agreed to participate; and as Hanks emphasized during an appearance in Bravo TV's "Inside the Actors' Studio," not all of them are still alive. - Denzel Washington's appropriately named Joe Miller, middle class everyman in everything but the color of his skin (one of the movie's obvious bows to political correctness), displays an attitude uncomfortably familiar to many of us; shunning gays in general and the HIV-infected Beckett in particular, out of a mixture of ignorance about AIDS, prejudice against those suffering from it, and prejudice against gays. Both Hanks and Washington give strikingly emotional, profound performances that rank among the best in their respective careers - Hanks deservedly won both the Oscar and the Golden Globe for his portrayal of Beckett, but Washington unfairly wasn't even nominated for either. Yet, neither of them would have been able to shine as much as they do without their exceptional supporting cast; to name just two, Jason Robards, commanding as ever as Beckett's homophobic former boss (and role model!), and Antonio Banderas as his devoted lover.

By the time of "Philadelphia"'s release, some of the early myths about AIDS had begun to disappear, and the yearly growing numbers of newly infected patients had brought it out of its erstwhile obscurity as "the gay plague." But indepth knowledge was still far from widespread, and therefore the movie not only brought awareness to the disease in general, but also made a couple of important points, from educating the public about the disease's method of transmission to emphasizing that it is by no means limited to gays and can even be contracted in something as life-affirming as a blood transfusion. (Indeed, several European countries were rocked by transfusion-related AIDS scandals right around the time of the movie's release). One of "Philadelphia"'s most quietly powerful scenes is the testimony of a female witness who was infected by just such a transfusion, and who emphasizes that having AIDS is not a matter of sin or morality: "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," she responds when asked to confirm that in her case "there was no behavior on [her] part" involved and contracting AIDS was something she was "unable to avoid." - Moreover, four years before Ellen DeGeneres rocked the showboat with a kiss during an episode of her sitcom, and Kevin Kline and Magnum macho Tom Selleck locked lips in "In and Out" (the screenplay of which was inspired by Hanks's Oscar acceptance speech for "Philadelphia"), it was by no means a given that a movie would get away with letting Hanks and Banderas exchange acts of tenderness from caresses and kisses on the hand to a slow dance at a gay party.

Given "Philadelphia"'s fundamental message and the memorable performances of its protagonists, it is a pity that the movie doesn't entirely avoid Hollywood pitfalls, such as its soggy ending with grease literally dripping off the screen and the undeniable taste of a sugar-coated afterthought, transmitting the message that even dying of AIDS is really not so terrible, at least for the surviving family who can still unite around the television set and wallow in their memories of their lost loved one. And while I do buy Joe Miller's transformation from a (somewhat stereotypical) homophobic male to a reluctant supporter of gay rights, I don't really see why Beckett suddenly assumes a cliche gay look the second he has been fired; not to mention that I suspect not everybody in his situation would have enjoyed such overwhelming support from his family.

But ultimately, it is the movie's overarching message that counts. "Ain't no angel gonna greet me; it's just you and I my friend ... and my clothes don't fit me no more: I walked a thousand miles just to slip this skin," sings Bruce Springsteen, the movie's other Oscar winner, in "Philadelphia"'s title song. And Justice Brennan wrote in the Supreme Court's Arline decision that in amending federal law, Congress was motivated by "discrimination stemming not only from simple prejudice, but also from archaic attitudes and laws." This movie goes a long way in dispelling such attitudes. It alone isn't enough - but it is, as Andrew Beckett jokes about the 1000 lawyers chained together at the bottom of the ocean, a good start.

Also recommended:
Philadelphia
And the Band Played On: Politics, People, and the AIDS Epidemic, 20th-Anniversary Edition
In & Out
Saving Private Ryan (Widescreen Two-Disc Special Edition)

"Philadelphia", based on a true story, is one of the best releases of 1993, starring Tom Hanks, Denzel Washington, Mary Steenbergen, Antonio Banderes, and more. Its production was extra crutial being that during the time of release, many were still severely fearing AIDS. The producers accomplish every scene wonderfully. The movie's portrayal of AIDS and its victims is very accurate to reality. The plot was written beautifully, though sad. It explores more than just AIDS; it explores discrimination against those who have it and against homosexuals. Such combination remains ahead of its time. The plot becomes more interesting as Andy Beckett's lawyer becomes more educated about such issues and begins changing his beliefs about them. Its emotional impact is intense, never held back for a second. It forces audiences to feel the events. The movie is more than entertainment; it's also educational.

Tom Hanks's Oscar winning performance as Beckett is heartwrenching. His every drop of heart and soul was poured through his performance. His previous hardcore research about the lifestyle, the disease, and the actual events is obvious. This is one of many movies that proves that Tom Hanks is one of the best actors in history. Denzel Washington's performance as Beckett's lawyer is beautiful. His acting skill proves very crutial in his character's personality and point of view. All other actors, major or minor, also perform their roles wonderfully. Everyone, including Hanks and Washington, offers their own useful emotional prospective to this movie.

Bruce Springsteen's Oscar winning song "Streets of Philadelphia" is a beautiful way to begin the movie. Its dark theme matches the plot perfectly. It also offers new prospectives to the movie. This song will be a classic in the following years. The original score was also composed beautifully(not by Springsteen), giving the movie more intensity and emotion.

The make-up team's research of AIDS and its victims proved highly crutial. Their work on Tom Hanks was highly accurate to reality. There were no flaws to the physical symptoms, ranging from skin tone, changing hair color, lesions, and eyes.

"Philadelphia" is a great movie for those looking for a powerdrama. This is sure to please audience for many years to come.

Jonathan Demme is a director who manages to infuse his movies with wonderful subtle touches, like the all-important opening sequence in this movie, a montage of the City of Brotherly Love -- spiraling faces, painted murals, bombed out sections of old town -- to the haunting Springsteen song. As a mainstream movie about AIDS this is top-notch. Hanks is heartbreaking, as is Joanne Woodward in her usual no-nonsense form. The opera scene seems a bit over the top, and I miss a real connection between Hanks and his hot Latin lover Antonio Banderas, but this movie went a long way in bringing the disease and its presence among us real and acceptable to many more people. Responsible and poignant.

Tom Hanks, Denzel Washington, and director Johnathan Demme more than deserve the accolades received for this story of a gay, AID-stricken attorney who sues the lawfirm that unjustly fires him; in fact, Demme and his cast are so incredibly good that you won't realize how one-dimensional the script is until you've had time to recover yourself after the film's powerful conclusion.

The problem with the script, at least as I see it, is that PHILADELPHIA is written in such a way as to create maximum identification with and sympathy for Hanks, and in consequence it never goes any further than it absolutely must into the myriad of issues swirling around the AIDS epidemic; there is no real effort to look beyond the the deliberately glossy, upper-middle-class surface the film posits as reality. Well intentioned, no doubt, but the film never actually makes a viable statement of any kind.

Even so, Hanks, Washington, and the astonishingly gifted cast turn PHILADELPHIA into a powerfully emotional experience, and that alone is more than worth the price of admission. Strongly recommended--but if you're looking for more in an AIDS-related film than an exercise in catharsis, you may be disappointed.

Philadelphia's profound portrayal of a homosexual lawyer afflicted with the AIDS virus, Andrew Beckett (Tom Hanks), is perhaps the driving force behind the film's impact and overall importance. Hanks, after being wrongfully dismissed from his law offices, enlists the help of fellow lawyer Denzel Washington to sue the firm. Washington, after forcing himself to dismiss prejudice, fear and overall disgust, grudgingly accepts Hank's case. Thus, the drama begins. The idea of fear leading to hate is prevalent throughout the courtroom scenes, but it shadows in the light of the overall underlying message. Andrew Beckett has AIDS, and he is going to die.

We, the viewers, witness Beckett's downfall to the virus throughout the film. His past is never fully revealed, but we gain insight to how his infection took place and how his family, as well as Beckett himself copes with death. All of these circumstances lead to a sympathetic, provoking performance by Hanks, which lead to an Oscar. His portrayal of a man dealing with death, loss and injustice invokes feelings of grief, sorrow and sympathy. Beckett is doomed, that much we know from the start, but the aspect of this film that makes it so significant is how Beckett, through Hanks, deals with the subject of his own eventual demise. He must learn to accept his fate if he is ever to survive the courtroom battle that ensues.

Perhaps the scene where his acceptance of fate truly occurs is after a party in his apartment. Washington is there to go over some questions with Beckett, but Beckett seems elsewhere, almost lost. He isn't lost however, in all reality, he is found. A powerful, heartfelt scene involving opera follows, in which Beckett understands, accepts and perhaps seals his fate. The scene, in my opinion, is one of the most powerful in recent memory.

Three things sell Philadelphia: Hanks' character of Andrew Beckett, well-written script, and Jonathan Demme's humanistic approach to the film. These aspects make Philadelphia a worthy film indeed.

In March 2002, Denzel Washington was awarded his first Best Actor Academy Award. It was a little late in coming. A myriad of roles in films like "Bone Collector" and "A Soldier's Story" were all Oscar performances. But perhaps his best was in "Philadelphia". 1993's "Philadelphia" is the brutal, uncompromising story of a hot young lawyer, fired by his firm for being gay and contracting a virus. The principal attorney charges that "Andy brought AIDS into our offices". A heart-rending, spell-binding expose of prejudice and bigotry in 20th Century America, "Philadelphia" is really a horror film, where the monster is you and I. We're guilty. We shun the homosexual and bar the AIDS victim. We extend little mercy to society's modern "lepers". Do you doubt it? Then pick up this marvelous DVD. In "Philadelphia", Tom Hanks won his first of 2 Academy Awards. Directed by ace Jonathan Demme, it features Antonio Banderas, Joanne Woodward, the late Jason Robards, and movie director Roger Corman. The award-winning soundtrack includes haunting Neil Young songs and music from Bruce Springsteen. The DVD has no chapter stops, no bios, no trailer, and no featurette. In fact, "Philadelphia" has no extras at all. That's OK. This 125 minute classic movie is all you need. Maybe more than you can take.

Philadelphia deals with an AIDS-stricken homosexual attorney, played by Tom Hanks, who brings a wrongful-dismissal suit against the firm that fired him. It's a wonderfully sympathetic tale that did wonders in increasing understanding of people suffering from AIDS in the early 90s, and a magnificent display of acting by Hanks and Denzel Washington. The film shows just how easy it is for society to dismiss someone at a time of greatest need, and how wrong it is to do that. The film, along with Bruce Springsteen's title song, has aged well in the intervening years and remains relevant today.

Philadelphia was Jonathan Demme's follow up to Silence Of The Lambs. Doing a 180 degree turn in stories, Philadelphia is basically a courtroom drama with Andrew Beckett, who is a gay man with the AIDS virus, suing his former employer, Wexler, Wheeler, a large, powerful and influential Philadelphia law firm, for wrongful termination based on discrimination due to his medical condition. Andy is an up and coming lawyer who is given a big and important case. At a meeting with the partners, one of them notices a lesion on his head, but Andy makes a story up about it. Andy works on the case while having some complications from his sickness. He completes the work, but at the eleventh hour, the case is mysteriously lost and all records are lost. The files are found, but Andy is terminated supposedly for incompetence and a bad attitude. Andy decides to sue, but is turned down by many law firms, including Joe Miller who is an ambulance chaser with over the top TV ads, as they are afraid of the case. Andy decides to represent himself, but when Joe, who is black, sees the treatment Andy receives at a law library, he agrees to represent him. Joe has prejudices of his own as he hates homosexuals, but he believes Andy's rights have been violated. Tom Hanks is absolutely stunning as Andy. We see him slowly succumb to his disease and his transformation is startling. He depicts Andy with grace and avoids any stereotypical characterizations. Denzel Washington is equally amazing as Joe Miller. He plays the role with the right amount of force, but peels back the layers to show an understanding side. Joe is a blowhard and hardheaded, but in the end shows compassion. Jason Robards is commanding as Mr. Wheeler, the bigwig at the law firm and Joanne Woodward plays Andy's mother with class. Mr. Demme gives a real feel for the city of Philadelphia. The movie was the first mainstream Hollywood film to make the subject of AIDS its main plotline. The film walks a fineline and avoids becoming too preachy. Mr. Hanks deservedly won his first of his two consecutive Best Actor Oscars, but Mr. Washington was every bit his equal. Bruce Springsteen also won an Oscar for his haunting song "Streets Of Philadelphia".

I saw Philadelphia for the 1st time two nights ago. Even though I enjoyed the movie (Hanks performance was excellent, the courtroom scenes were not too boring, and Antonio Banderas is always hot!)I have a question for reviewers who keep criticizing the film for the support that Beckett's (Tom Hanks) family shows. Why is that deemed unrealistic/too Hollywood? In my opinion that was one of the most beautiful aspects of the film. Believe it or not there are many families who are supportive and loving to their homosexual relatives. Often it is the cliche to make the homosexual person an outcast in the family or hated by his father etc. Since I am seeing this film 12yrs after the release I am used to seeing gays in cinema/television having troubled relationships w/their families if they have one at all. Also for any family to want to turn their back on their dying son is heartless, so it was refreshing to see a gay son so unconditionally loved by his family.
A second question is for one reviewer who felt the ending was "greasy". Why did the ending not make sense? There was a scene w/Beckett and Miguel(Antonio Banderas) where they discuss planning a memorial service. Beckett obviously wanted a memorial service/life celebration not your standard funeral. So the ending made perfect sense to me. Also I do not think Washington's character(Miller) made a complete 360 on his views on gays. But it would be unrealistic for him to have that experience of defending and working w/Beckett and not come away with something.