Review of The Boys in the Band (2020) by Kberty — 26 Dec 2020

The Netflix remake of the 1970 film (directed by William Friedkin) has some interesting additions in terms of flashbacks and male nudity that 2020 sensibilities will allow, but it can't fully match or surpass the original movie (nor, I suspect did the 2018 stage revival match the 1968 broadway production) for one simple reason.

Jim Parsons. This is the second time now that the Big Bang Theory actor has been cast in a "villainous" gay role and the second time (IMHO) that he has been badly miscast. His role as the very powerful, but unscrupulous and lecherous Hollywood agent Henry Wilson in the Netflix mini series Hollywood, created by Ryan Murphy (also a producer on this project) was simply unbelievable, as is his turn here as Michael.

Kenneth Nelson as the original Michael in both the 1968 and 1970 productions of Boys in the Band was filled with menace, and palpable danger, especially when he goes off the wagon and starts sopping up the booze.

The transformation is stunning and tangible as required by the characters arc in behavior. In one scene Nelson needs to go from a man totally under control and in charge of his mannerisms to a psychotic, unhinged beast out of control with anger and built up resentments which he spews onto his party guests.

Parsons is a very good actor. He delivers his lines correctly and hits his marks on cue ... but his performance is pretty one note here, and it's incredibly disappointing given the strength of the other performances from the rest of the cast.

That transformation noted in Nelsons performance never materializes fully in Parsons and comes off more like a petulant brat stomping his foot during a temper tantrum. It's a problem because for all intents and purposes, Michael (Parsons) and Harold (Zachary Quinto) are the two alphas in the room and they at best need to match each other in their ability to dominate the room and the other characters.

Quinto does an excellent job and brings the character of Harold to life. Like Leonard Frey in the 1970 film, he alone is able to stand up to Michael's **** and leave us thinking that Michael had best tread lightly around him.

Frey was a brilliant actor taken from us far too soon by AIDS and his performance as Harold stands out as one of the iconic roles for any actor, and certainly for gay actors, full of complex emotions and nuance.

Pasrons' performance falls short and it has an unfortunate effect on the overall impact of the film.