It’s kind of a travesty that I hadn’t seen Philadelphia all the way through yet. When you ask most people to name a cultural touchstone that combines the themes of LGBT and Philly, OutFest usually isn’t the first thing that comes to mind, so in a sense perhaps it should be required viewing for every Philadephia queer. On the other hand, I feel like it’s become so dated, and kind of a hackneyed example of gay narrative; people only remember it at the expense of other, better films because it has Tom and Denzel. Still, I figured it deserved another chance, as I hadn’t seen it since the eighth grade.
My initial thoughts were varied. First, I can’t stand the damn Springsteen song. I’ll say it. It’s saccharine, and overplayed, and my dad played it so many times while I was growing up that I can’t even listen to it without hitting the mute button. Second, the montage of street scenes was really cool – I kept jumping up and down shouting “omg I know where that is!” – but really, a lot of it is pretty different now. (No Comcast Center?) (I do the same thing when watching It’s Always Sunny in Philadelphia, for the record.) Third, I think everyone in the movie is listed in the opening credits. EVERYONE. There’s only five or six we really care about, so do we have to know who plays the guy who hits on Denzel in the drugstore before we’ve even seen the beginning? But then, as you get into the meat of the film, once Tom Hanks starts being all suave and energetic…
…well, it’s really not a very good movie. A lot of people swear up and down that it’s the cornerstone of gay-themed cinema, that it’s solid gold all the way through, and I agree that it was an important, landmark film for it’s time, but from a cinematographic point of view, it’s pretty awful. Half of the shots are extreme close-ups of things like, I don’t know, Antonio Banderas’ very INTENSE FACE, or the random friend of Tom Hanks walking towards the bathroom with A CONCERNED EXPRESSION when he hears puking, a friend whom we don’t see for the rest of the movie. And the acting. Oh, the acting. Aside from Tom Hanks – who was very good, and was entitled to the Oscar – and Denzel Washington – who wasn’t perfect, but had his moments – by and large most of the cast was wooden, and those that weren’t had far too little screen time (e.g. Jason Robards). Antonio Banderas was very pretty, but aside from adding his Spanish Intensity to the scenes, he didn’t do much; Mary Steenburgen’s opening to the jury in the courtroom scene is a snoozer. A lot of the dialogue seemed to be taken from a junior-high afterschool special on AIDS; given the climate in 1993, I can understand why audiences might need to be educated in this way, but 15 years later, it’s one part of the movie that definitely hasn’t held up. Does anyone watching this not know how HIV spreads?
The best parts are where timeless emotions associated with the epidemic come through: Denzel’s awkwardness in dealing with Tom Hanks, simultaneously wanting to defend him and not wanting to breathe near him. The moment in the courtroom where Denzel holds up the mirror to show Tom his own lesions. The infamous, “ARE – YOU – GAY!?” scene. (And hell, even Antonio gets a good moment when he breaks down in the hospital.) It’s those uncomfortable emotions, not those extreme closeups, that are pertinent to a contemporary audience – and it’s weird to say that, since 15 years, when you think about it, isn’t that long a time. I suppose it’s a testament to how far we’ve come in our education. Spending time saying, “Well, duh, everyone knows you can’t spread it from a baseball cap” lets us devote more interest to those rawer feelings we all still share.
One more thing bugs me, though. This film didn’t need to be set in Philadelphia. Sometimes, you can’t even tell that it’s Philadelphia (aside from geographic references, like when Jason Robards talks about “those sleazy bars on Chestnut Street”). I’m glad it was, but at times I wonder why; is it just because it means “brotherly love”? Is that really it? Corny. It was fun, though: “OMG Denzel is at 4th Street Deli! OMG Denzel lives in QUEEN VILLAGE!”
At least the opera scene was good. Oscar material right there, Tom.
~~ PQ

Actually, in all seriousness, I do remember learning way back in high school bio that most species have the concept of neoteny, where certain youthful characteristics are retained and are more attractive to the opposite gender. (This is in species that have gender, of course.) Certainly the same thing applies to humans: most people would agree that the general conception of beauty is associated with youth, health, and perhaps the prime of sexuality. But I think culturally, we might be taking it too far. (For a hetero example, why do middle-aged men in Japan have a preoccupation with teenage girls in all their bubbly glory?) Guys grow chest hair, it happens, yet there’s this compulsion, maybe even an obligation, to remove it; failure to do so means you’re a bear or maybe a hipster. Youthful characteristics may be hardwired into our brains, but come on, shaving off the majority of one’s hair? Where/when did this start? I’m inclined to blame Ancient Greece…
For starters, the food is downright amazing. You can start off with any of several tapas and appetizer dishes, from kebabs to assortments of cheese, to the outstanding ham croquettes or shiitake polenta. An order of the red or white mussels is more than sufficient for an entire meal. If you elect to (just) have an entrée, get the paella for two and make your date pay; otherwise, there’s duck, lamb, tuna, stuffed chicken, and the like, each with a distinct and mouth-watering flavor combination of sauce and spice. Or, if you’re feeling less fancy, they make a mean plate of burger and fries too, with that spicy mayo that takes pommes frites to a whole new level. End with one of their fantastic desserts: trust me, I’ve tried them all, and each one is an experience. (I’ve had wet dreams about the bread pudding.)
The layout of the restaurant has a large square bar in the middle of the main dining room, with individual lounges stretching out from the corners, allowing for easy transport of your chosen alcoholic bev to the table. They offer a wide variety of cocktails and liquors, and the wine list is ridiculous. The added bonus of an extremely attractive wait staff is also nice; you’ll probably find several excuses during the night to call your waiter over, just to admire the view. The music isn’t half-bad, and though the restaurant is full of cozy nooks, it’s never quite full enough to have volume be an issue. Whether you decide to stop by at 6 or midnight (and they do offer a late-night menu featuring most of the starter dishes, at least), you and your posse will be able to enjoy a relaxing meal. (At least, until you get the check. Valanni is many things, but cheap is not one of them. However, it is one of the few places where you honestly do get your chunk of money’s worth.) In any case, check it out at
Where does that drive stem from? Maybe it’s connected to the whole impression of gays-are-whores thing. Because let’s face it, 90% of gay men are faithless, fickle, and flirtatious, going from guy to guy like they’re sampling chocolates. Is it hardwired into the gay brain, or is it a self-reinforcing subculture where commitment = weakness and sex = scorecard? Either way, maybe the idea behind it is a need to feel sexy and beautiful, to make oneself as tarted up as possible, to sleep with as many people as possible as if this will justify your attractiveness and allure. And you have to do this because… I don’t know, not being accepted in your youth for who you were, you need to overcompensate in adulthood? And maybe go-go dancing and prostitution are even better, because then not only are you being admired for your body and appreciated for who you are, but you’re getting money for it as well. You must be really hot. Thank God club managers at least have a decent eye for their dancers, because if everyone who had this inferiority complex followed their desire and got naked onstage, we’d have some hideous sights to behold. (Why do unattractive gay men still have this drive to be a stripper, but really hot straight guys don’t? They don’t need to show off because society already loves them? It’s a mystery.)
Haven’t posted in quite a while, but after a ridiculous week at work and a trip to NYC this weekend, I needed some recuperation time; sitting at Chapterhouse now, able to collect my thoughts for the first time in days. And while I could talk about life things and stuff that’s pretty trivial unless you’re me (which you probably aren’t), I’ll do instead what everyone and their mom is doing and blog about the inauguration. (Which I already did on another blog, but unless you’re one of the two people who knows about both of those, you haven’t read this yet.)
Sidebar: Michelle Obama. Holy hell. I fucking love her. Hillary wasn’t bad, but she was too schoolmarmish to really tickle me with her White House fashions — after all, the President not only has to be an effective leader, he must be a charismatic one, and apperances are, unfortunately, a large part of that. The First Lady can be a potent force in her own right, but she has much more photo op potential than her husband, and Michelle Obama is (as one friend of mine put it) the “Beyoncé of the White House”. (Who would Laura Bush be, then, I wonder? The Tina Turner?)
I mean, I’m about as liberal as they come, and I’m about as spiritually accepting as they come; I have friends who are Satanists and atheists and pagans and Buddhists and conservative Catholics. My personal beliefs are that there should be one common thread to all faiths: respect. You can be totally pro-Jesus and believe that I am going straight to hell with every other homosexual on the planet, so long as you don’t use that as a basis for disrespect; I’d rather you try to “save” me and have me politely decline rather than just spit your venom without any reason or direction. How do you found an entire “church” (I can’t even call it that; let’s call it a hate group and be done with it) on a totally non-dogmatic principle of hate? The entire focus of this little cult is that God hates homosexuals, and that’s why we have wars, floods, famines, et cetera. There are a thousand thousand arguments that one could use to counter these people, but the whole point is that they are absolutely, 100% unwilling to listen to reason. Even Nazis, with the same fucked-up principles of hate driving their rampage, were occasionally swayed away from the atrocities they committed. But WBC just counters logic with volume (thankfully, a pitifully small volume, so we don’t get headaches), like a bunch of four-year-olds throwing a tantrum because they lack the intelligence to understand how the world actually works. I don’t even want to do cursory research to find out how this entity came into being; it’s one of the few things that I can say is just totally not worth my time, save for this dismissal.
It’s been a while since I’ve done a movie post, probably because it’s been a while since I’ve seen a movie. And then Netflix was kind enough to ship me The Hours yesterday, which is always a feel-good movie for a Friday night. (Or, at least, it’s the kind of movie to depress you lots so you can go out and dance to feel good about yourself; negative incentive or whatever.) But on top of that, it’s also a fantastic film, with superb acting (mostly), stunning cinematography (mostly), and lesbians (mostly). If you haven’t seen it, I will attempt to describe!
But the execution of it is just so brilliant, too. Michael Cunningham (gay himself), who wrote the novel, incorporated layers of meta-fiction and the style of Woolf into his prose. Virginia ponders how Mrs. Dalloway’s condition mirrors her own, while Clarissa’s day echoes the character’s almost perfectly. Laura connects with Clarissa’s storyline in a way that I won’t reveal, and all three women have things they say and do that show identical reactions to variations on the same situation of entrapment. The acting is breathtaking: Nicole Kidman won the Oscar for her portrayal of Woolf, and both Julianne Moore (Laura) and Ed Harris (Richard) were nominated as well. (I personally liked Meryl Streep’s performance as Clarissa more than Julianne’s, but I’ll forgive the Academy that one.) The rest of the cast includes luminaries such as Miranda Richardson, Stephen Dillane, Alison Janney, John C. Reilly, Toni Collette, Claire Danes (for whom I confess I have a soft spot), and Jeff Daniels. Eileen Atkins even shows up in a cameo. Put it all together with a haunting soundtrack by Philip Glass, good costume design and art direction, and you have a more-than-worthy film.
The reason I was gone for a few days was that I went to New York this past weekend. Being from Philadelphia (or at least the environs), I find it disappointing that there’s this rivalry between the East Coast’s two largest cities. Obviously, residents of both cities are intensely proud of their homes, but New Yorkers always seem to have a chip on their shoulder the size of a pretzel cart. Their city is, to them, the best in the world, the most important, the most popular, et cetera, et cetera. Philadelphia, in the eyes of friends and enemies I know from NYC, is merely quaint. From my point of view, I love New York, but I’m just utterly perplexed by their attitude problem. Guess what, guys? You’re not the only city in the world. You have great culture, great nightlife, and fabulously gorgeous men, but you’re also expensive, pretentious, seriously fucked up in terms of the wealth gap, and not the center of the universe you’d like to be. Doesn’t mean I can’t go up and enjoy a weekend there, but something about Philly just warms my heart a whole lot more. Give me Rittenhouse Square with some leisurely shopping down Walnut Street followed by dinner and dancing in the Hood over Central Park, 5th Avenue, Soho, and Chelsea any day of the week. New York is so glitzy that it hurts your eyes, and until they elect me Queen Thang around here, my wallet can’t handle the expense. Plus, the cabbies are absolute maniacs.
Actually, first of all, the Mummers’ Parade. I’m happy it didn’t get cancelled, and it lasted several hours as usual, because it’s such an integral, unique part of Philadelphian lifestyle. Plus, look at those outfits! Those mummers could give any drag queen a run for her title, which is really funny, because I get the impression that the vast majority of the mummers (at least the male ones) are exactly the kind of proud-to-be-hetero guys that would throttle you if you mentioned them in the same sentence as “drag queens”; the father of a friend of mine is one, and lord knows he’s as straight as they get. Anyway, it’s nice to have a bit of color on New Years’, because the next display of out-and-out frippery of this magnitude won’t happen until Pride in six months.
The party was nice, except for the fact that I didn’t really know anyone except the friend I came with and her boyfriend. (A few more friends showed up much later, fortunately.) Throughout the evening, I was texting with this boy who had been Myspacing me for a few days, and he suggested I come over, since the party was a stone’s throw from his place. But I felt bad, because at the same time, one of the partygoers, the only other gay one there, was really nice and friendly to me when everyone else was off doing their own thing. And at the end of the night, I got caught under the mistletoe, one thing led to another, and we ended up trading numbers. What’s really funny is that I think we actually met three or four years ago, out clubbing, and then ran into each other a few times at the diner in Jersey I used to frequent. Strange how people can resurface at random times, get drunk, and make out with you.