Mjeteconer Just perfect...

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Kamila Bell This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

J Kendall Dane One of the best gay-themed films of all time. Definitely in the top five!This movie takes you on a roller coaster ride of feelings as it touches every emotion possible...so be prepared to laugh hysterically sometimes, on your feet cheering at others, and you'll be reaching for the Kleenex occasionally, too. But one thing's certain, you will be smiling at the end and will watch it over and over.Brilliantly written and portrayed by the stars. The kiss Matthew Broderick shares with Brian Kerwin in the barn loft was so well done even Johnny Carson dared ask him on the Tonight Show if he was coming out?Bottom line is: You don't fully qualify for a pink card unless you've seen this one! ;)

thesar-2 Here's a movie I used to crawl up in bed (or easy chair) to like a good book repeatedly when I was young. I loved Torch Song Trilogy then and probably 20 years since I've seen it last, it holds up beautifully today. But, there is one thing that baffles me.Why on Earth was Anne Bancroft passed over for the 1988 Oscar Awards? She was brilliant here and that's not to say the others, like the absolutely hilarious Harvey Fierstein or very good Matthew Broderick, weren't deserving…but she literally stole every scene and ate up her role, in a good way.Sure, she was like my own mother, in regards to her stance and some of her words – just not the enormously vocal and flamboyant flair, and she was wrong in her bigotry, but she was excellent in her disapproving Jewish mother role.Not maybe – this is why I loved this movie as a young adult and literally watched it once a month or two for a couple of years: I was just coming out when I first got my hands on this and I could relate and root for and cheer and weep and ride right along with Fierstein's creation: Arnold Beckoff. He was a drag queen, I was not, but that was the one difference. He had a bottomless heart, insecure enough to allow others to control his life, spoke with a straight edged deadpan wit, looked for love over lust and kept his head up inside even when he continuously got knocked down. I felt – and still do, I was him.This movie's beautiful from beginning to end. The drama parts, the longing, the loves, that is. The comedy, lines and reactions are as equally entertaining. The two blended so well and moved us alongside Arnold's life and tribulations wonderfully.Torch Song Trilogy tells the tale of "performer" (well, drag queen) Arnold, living alone, afraid of his mother, approved by his brother and seeking his way in NYC by trying to be his own person when he's rejected in a time frame (the 1970s) when gays were just that.First he meets Ed, who's confused, somewhat straight but Arnold falls head of heels over. Then when that ends, he meets Alan who is the epitome of true love and an all around great guy. Then, Arnold finally meets his mother, metaphorically speaking. I believe that is the trilogy of the title. Oh, and Arnold adopts a son in there, too, and that might be his third love of his life…Honestly, I never tried to find true or deeper meaning in this film than what it meant to me just as I was coming out. Now, in 2013, I'm long past that. I still feel his plight, still laugh at the jokes and absolute uproarious banter and smart lines.I'm not sure if this movie could be for a wide audience, but I wish it would. For the open-minded people, for the just coming out, for the Jewish people struggling with anything…this is a splendid movie to cherish.

Scott Amundsen I was born, raised, and lived in New York City until I was forty, and I saw a lot of Broadway shows, but it has always been one of my great regrets that I never saw Harvey Fierstein's monumental play TORCH SONG TRILOGY, which he both wrote and starred in. So when I saw that a film version had been made, and wonder of wonders it starred Fierstein, I rushed out to see it. And I was not disappointed.In the interim I had read the play. On the stage, TST was an experimental piece with minimal sets, lots of overlapping dialogue (something that works well on the stage but is hard to do on film), and a running time of nearly four hours. So when I saw that the film's running time was just two hours, I prepared myself for a hack job. But Fierstein himself adapted his own play to the screen; I should have known better. The end result is, you might say, a "compressed" version of the play: Fierstein made a good many judicious cuts in the dialogue, leaving only the choicest bits, and the finished product shines like a well-cut diamond.TST tells the story of ten years in the life of Arnold Beckoff (Fierstein), a female impersonator in New York City with a romantic nature; surrounded by men looking for sex, Arnold is looking for love, and it can be cold out there in the big city.Yet he does find love, and more than once. The first time in the person of a *bisexual* schoolteacher named Ed Reese (winningly played by Brian Kerwin), who ultimately can't make up his mind which bed he wants to sleep in. Ed isn't a bad guy, but he is terrified of being gay and tries desperately to make a life with his girlfriend Laurel (Karen Young in a brilliant, funny-sad performance), in the end succeeding only in hurting both Laurel and Arnold, who drops him.Arnold's next love interest literally falls into his lap. Onstage at the club, Arnold is heckled by a bunch of young men who are very drunk, and one of them, upon being confronted, responds by passing out. Arnold takes him home to sleep it off. The young man, by name Alan Simon, barely out of his teens, is brilliantly played here by the indecently beautiful Matthew Broderick. Looking down at the sleeping boy, Arnold says, "If you have an IQ of over 30, then there is no God." When Alan awakens Arnold serves him breakfast, gives him directions to the subway, and locks himself in the bathroom until the kid leaves. But what he does not know is that Alan has developed a huge crush on Arnold, and he pursues him quite openly until Arnold's defenses crumble.Arnold's love life goes on with more than its share of triumphs and tragedies. Running on a parallel track is his relationship with his mother (Anne Bancroft, sensational as always), on the surface your typical New York Jewish Mother who hovers over her kids and has a gift for laying on the guilt. But there is more to her than that. Arnold loves her and is frustrated by her in equal measure; she has never accepted him for who he is and constantly makes references to the mythical *wife* he will *someday* have.Arnold's journey of love and loss and reconciliation climaxes with a final confrontation with his mother in which he finally lays down the law: "There's nothing I need from anyone except for love and respect and anyone who can't give me those two things has no place in my life!"Condensing a four hour play into a two hour movie seems an impossible task, but Fierstein and Company pull it off brilliantly, and the end product is a warm and winning film, often funny and sometimes tragic, but always real. And the best part is that Hollywood did not insist on putting a name star in the lead. The part was written by Fierstein for Fierstein because on some level Arnold IS Harvey, and it's perfect for his rubbery, funny face which reflects every emotion he feels, and while he starts out considering himself somewhat less than attractive, by the end of the film, he has gained considerable dignity and is almost handsome.A joy to watch from start to finish.

preppy-3 Movie follows the life and times of gay drag queen Arnold Berkoff (Harvey Feinstein) from 1971-1980. It goes into his dealings with bisexual Ed (Brian Kerwin), Ed's girlfriend Laurel (Karen Young), cute young model Alan (Matthew Broderick), his mother (Anne Bancroft) and an adopted gay son David (Eddie Castrodad).The original play was about 4 hours long so naturally a lot was left out of this adaptation. Still, the fact that this got made at all back in 1988 is amazing. This was years before "Will & Grace" or "Queer As Folk". It came and went quickly but it should be rediscovered. The script is sharp and (for the most part) the acting is excellent. It deals realistically with a gay man trying to deal with family, love, men and relationships in the 1970s--but I think any gay man from any era could find plenty to identify with here. Fierstein is excellent in his Tony Award winning role. His voice is a little hard to take at first but you get used to it. Kerwin seems a bit too earnest as Ed but he's still pretty good. Broderick seems nervous too but he pulls off the role of Alan (although seeing him falling all over Fierstein IS pushing credibility). As a point of interest Broderick played David in the original stage version and said it helped his career quite a bit. Young is very good in her small role as Laurel and so is Ken Page in his small role as Murray. Bancroft is WAY over the top as Arnold's mother (but it fits the role) and Castrodad does what he can with his severely edited role as David. However his first meeting with Bancroft is hilarious. Also there's some beautiful direction here--a shot from up above NY after Arnold meets Ed always takes my breath away. Funny, smart, sweet, touching and sad--a very good movie. The two hours just fly by. WELL worth seeing. A 9.