Classic from the Vault
Philadelphia (1993)
Director: Jonathan Demme
By Alex Watson
Tom Hanks is one of the safest pairs of hands at the box office, ever since Forrest Gump told viewers that his mama told him ‘Life was like a box of choc—olates’ he has become a firm favourite. But what is the real appeal of this man? Perhaps his greatest quality as actor is that he appears to be like every other man and therefore is capable of bringing us performances that are very believable and very heartfelt. Perhaps his greatest hour was his most surprising performance playing a homo-sexual lawyer dying of AIDS in Jonathan Demme’s Philadelphia. Here he would give a performance that would pull at the heartstrings
When hot shot lawyer Andrew Beckett (Tom Hanks) is fired from his prestigious job at a large corporate law firm due to apparent incompetence, he knows that in reality he has been fired because his boss Charles Wheeler (Jason Robards) knows he has AIDS. Seeking justice, Beckett is repeatedly turned by other lawyers to sue his firm. With nowhere else to go he turns to former rival Joe Miller (Denzel Washington). Miller is admittedly homophobic and at first is uncomfortable around Andrew- but together the two will overcome adversity and get the retribution deserved.
Philadelphia was the first movie to acknowledge not only AIDS and HIV but also the discrimination caused by homophobia. All the way through the sense of in-justice looms heavily, when Andrew is called a meeting with Wheeler and his associates, we can see the thinly veiled disgusted on Wheeler face as he gives a fake speech about Andrew’s ‘limited abilities’ when just days before he was made senior partner! His former employers are the true villains of the film and through their narrow mindedness they are willing throw a capable man on the scrap heap because he is not like them.
This picture was made by Jonathan Demme in response to a minor backlash against his previous picture The Silence of the Lambs depicting a serial killer as homosexual. Realizing awareness was needed, Demme made this picture to make Hollywood wake up to a wider world.
The main pairing of Miller and Beckett is where the film works best because here it really is a case of opposites attracting. When we first meeting Miller although he is family man, he still isn’t likeable due to his homophobic attitude. In his first meeting Andrew he runs to the doctor due to he fears of infection and is laughed out the building. But Miller respects fair play and when he sees Andrew being discriminated by a bigoted librarian, he is able to overcome his attitude to help Andrew through his plight, as he describes to another lawyer “Some of these people make me sick. But a law’s been broken here. You do remember the law, don’t you?”
In the courtroom scenes, director Demme refuses to release the potential fireworks and this sense of underwhelming works perfectly with the balance of the film. Beckett doesn’t want any impassioned speeches; he simply wants justice for his embarrassment. There are some great moments none the less particular when gives a tough cross examination to regretful associate and asks him whether he is homosexual? When the associate avoids the question, Miller hits home with “Are you a homo? Are you a queer? Are you a faggot? Are you a fruit? Are you *gay*, sir?” In the end this line of questioning is the break through needed and very soon Beckett gets the result he deserves.
Tom Hanks gives a fantastic performance as Beckett, to those who are familiar with him in his more family related films- this role may come as surprise. But none the less he holds the central with such presence and even when Beckett’s condition worsens, Hanks still gives him a strength that runs throughout Philadelphia. He is ably supported by Denzel Washington, who as Miller gains our respect throughout, although tough hearted in the early stages, Washington gives him a human touch that warms his character to us.
As the villain Jason Robard is memorably nasty as Charles Wheeler, his distaste for homosexual triggers the sad events of the film. Even in the face of Beckett’s eventual death, Wheeler refuses to drop his steely attitude and it is this that will lead to his downfall.
Philadelphia is probably one of the Tom Hank’s lesser watched films among cinema goers (despite his Oscar win), but by far it gives his greatest performance and shows his big range as an actor. For any Hanks fans I would recommend digging this out because it is one of the most thought provoking films from years gone by. But there will no talks of chocolates boxes here I’m afraid!
Closer to the Edge 