The Boys in the Band (2020) Netflix Film Review

The Boys in the Band delivers deliciously digestible disagreements at a raucous party with a charming soap-operatic style 

Adapted from Mart Crowleys 60’s gay stageplay after a 50th-anniversary revival (which brought home a Tony Award), Joe Mantello’s most recent version is stagey and dramatically overstated. But its also freakishly watchable with a soap-operatic intensity.

The second screen adaption after a 70’s production from William Friedkin (Exorcist, French Connection) takes place on one night as Michael (Jim Parsons) hosts a gathering of 6 gay friends to celebrate the birthday of Harold (Zachary Quinto) whom he shares a fractious relationship with.

The octad of men (Michael, Harold, 2 couples, an ex hookup, a dim-witted escort and an old college friend) all get their moment to shine, with relations tensely taught and a sassy rapport shared amongst the cast (despite the hostilities on screen). There is no core couple, however, Jim Parsons Michael (a semi-employed writer) is what the narrative revolves around with his brilliantly explosive performance.

As party host pressure and discomfort swarms on him. Even the early arrival of former hookup Donald (Matt Bomer) offering a helping hand does little to mitigate the intensity.

An already present air of awkwardness is rocketed up by a wrench that disrupts the proceedings in the form of an estranged straight friend, Alan, inciting the drama that floods a large portion of the bulky runtime. Incidentally which never feels lengthy, quite the opposite. There’s a furious intensity even in the intricacies of the intimate relations.

The main promotional gambit of Netlfix’s has been the inclusion of two modern-day stars, Zachary Quinto and Jim Parsons (Harold and Michael respectively). It would be an understatement to say their relationship is prickly, barely a nicety shared on-screen but torrents of insults laid on each other. So much so you begin to question why Michael is throwing him the party with seemingly no love shared. In fact, Parsons (everyone truthfully) shows little friendship with any of the core characters. Especially once Michael begins the descent back to his volatile, alcoholic ways.   

In this bitter drunken state Michael proposes a simple game. Call the one person you truly love and admit it to them over the phone. Theatrics the stage would be proud of follow and never let up. 

It does play to the campness (unashamedly), especially when Emory (Robin De Jesus) – a campy irritation for the rest of the characters – is present. His outrageous overcompensations lead Micheal to at one point enforce a ‘no-camping’ warning upon him, out of fear of what Alan may think. 

On the whole, there is a natural feel. Actors sinking into their roles with utter credibility and immersion. Relationships feel sincere with exhilarating chemistry. And that’s crucial to the success of this flabbergasting fun fest. 

Despite delicious melodrama and drunken squabbling aplenty the play weighs heavy on the director. Struggling to escape the lurking constraints of theatre, at least when you adapt it so faithfully. It’s the clashing of two mediums (much like video game adaptions). The screen feels flat. Like a stage. The mainly single setting, long takes and continuous action don’t help negate this. Yet there is this effusive, frenzied energy that is inescapable.

It’s intensely dialogue-driven with barely a moments silence. This bombardment only charmed me more. A strangely compelling watch.

It may not be high art but it’s ridiculously enjoyable, highly entertaining fearsome fun. 

The Boys in the Band is available on Netflix now

Toby