Philadelphia

I recently watched the movie Philadelphia, starring Tom Hanks and Denzel Washington. Directed by Jonathan Demme (The Silence of the Lambs), the film depicts the courtroom struggle of Andrew Beckett, a gay man dying from AIDS (Hanks), defended by his homophobic attorney, Joe Miller (Washington). Beckett was fired from a conservative law firm for his condition and sought justice for the allegations against him. Set in Philadelphia, PA in the early 1990’s, the film tested the validity of the law and the morals of humanity.
I found this movie to be incredibly intense, powerful, and moving. The film complemented the homosexuality unit, namely the period after the Stonewall Riots, and provided me with a better understanding of the fear conjured up by AIDS in the early 1990’s. Often referred to as “the gay disease” in the 1980’s, people in the 90’s were absolutely terrified of the notion of contracting the disorder. After developing AIDS, Andrew Beckett plummeted from a distinguished and esteemed lawyer to an outcasted and despondent individual. A powerful scene in particular portrayed Tom Hanks sitting in a library researching AIDS discrimination laws when, upon realizing that Hanks had the disease, a librarian asked him if he would feel more comfortable in a private research room. Seeing the awkward and uncomfortable looks of others sitting near him, Hanks replied, “No, would it make you more comfortable?” To me, this situation really demonstrates the fear that people had of the AIDS virus and of homosexuality in general during that time period.
Another interesting aspect of the film was the transformation of Denzel Washington’s character, Joe Miller. As seen in the Stonewall videos, many Americans were appalled by the notion of homosexuality; moreover, two males having a passionate and sexual relationship. Joe Miller represented a dynamic change in that conservative and uneducated opinion from intolerant to respectful. His change was important because it allowed the public to witness acceptance of homosexuality among people representing the law. Furthermore, after saying a plethora of disrespectful and inappropriate comments regarding homosexuals, he later responds to a reporter by saying, “We’re standing here in Philadelphia, the city of brotherly love, the birthplace of freedom, where the founding fathers authored the Declaration of Independence, and I don’t recall that glorious document saying anything about all straight men are created equal. I believe it says all men are created equal.”
Most importantly, I was extremely affected by the character of Andrew Beckett. Through the contraction of his disease and all the animosity that came with it, he represented pride, compassion, diligence, and beauty. The most moving scene to me was the night before he was to take the witness stand in his trial and he and Joe Miller were reviewing their questions and answers. Beckett, realizing that he did not have much time to live, connected himself and his struggles to a beautiful aria sung by Maria Callas from the opera Andrea Chenier by Umberto Giordano (1896). Incorporating art, especially instrumental/vocal music, made this connection very accessible to me. As the music played, Andrew translated Callas’ words in a manner that reflected his genuine heartache; however, at the end of the aria, Callas repeatedly declares “I am love!” To me, this represents the strength of the human spirit, despite dismal circumstances and an unrelentingly judgmental society.
If you have not seen this movie, I highly recommend getting a hold of it and giving it a good view. It is powerful, emotional, and inspiring. Much of the controversy surrounding the trial and the concept of AIDS relates directly to classroom discussion and really portrays the clash between the progressiveness of humanity and the backlash of age-old stereotypes.