
“What I am, Michael, is a 32-year-old, ugly, pock-marked Jew fairy. And if it takes me a while to pull myself together, and if I can smoke a little grass before I get nerve to show this face to the world, it’s nobody’s goddamn business but my own.”
The cutting words of The Boys In The Band’s sharp-tongued Harold aren’t just one of the most hyper-aware self-assessments in the history of filmdom — they’re a fitting tagline for a landmark movie that’s as many simultaneous things as Harold, its birthday boy is.

At once a social document, wry sexploitation flick, hissing bitchfest, repository for immortal camp dialogue, midnight movie, urban character study, bleak outsider period piece, and parlor drama run amuck, The Boys In The Band has managed to endear and repel, engage and repulse, disarm and dismay its viewers in equal measure, and as it nears the big 4-0, it’s apt that as the film reaches midlife crisis time, its target audience finds itself at a heady vantage point of not only looking back at a turbulent past, but looking forward to as precarious a future.
By now, scribe Mart Crowley’s watershed 1968 Off-Broadway production that inspired the film has become a part of New York history and Big Apple mythology beyond. (more…)





Porn, as we scholars of the form know, takes place in an alternate universe too lopsided, too abundantly endowed, too strangely convenient to ever be described as parallel.




