A murder inside the Louvre, and clues in Da Vinci paintings, lead to the discovery of a religious mystery protected by a secret society for two thousand years, which could shake the foundations of Christianity.
Fearing it would compromise his career, lawyer Andrew Beckett hides his homosexuality and HIV status at a powerful Philadelphia law firm. But his secret is exposed when a colleague spots the illness's telltale lesions. Fired shortly afterwards, Beckett resolves to sue for discrimination, teaming up with Joe Miller (Denzel Washington), the only lawyer willing to help. In court, they face one of his ex-employers top litigators, Belinda Conine.Written by
Jonathan Demme decided to record the opera scene live so Hanks could get a better performance with the music playing. This proved extremely tricky in the editing suite (music is usually added in post-production). See more »
While on the witness stand when Charles Wheeler responds to the question "are you gay?", by laughing and with, "How Dare you", he is demonstrating his prejudice against homosexuals. See more »
[making their cases before the judge in her office]
This 'pestilent dust' that council refers to has appeared on only three occasions. Each time it was tested and the results: limestone. It's messy, but innocuous.
[leans in toward Andrew]
Defined by Webster's as 'harmless.'
I know what it means. May I?
[takes the packet of dust]
Thank you. Your honor
[takes a whiff of the dust]
, imagine how the children in this neighborhood are being made to feel: the constant pounding o-of...
[...] See more »
"This motion picture was inspired in part by Geoffrey Bowers' AIDS discrimination lawsuit, the courage and love of the Angius family and the struggles of the many others who, along with their loved ones, have experienced discrimination because of AIDS." See more »
The cable and network television versions of Philadelphia edit out portions of the pharmacy scene where a gay University of Pennsylvania law student attempts to pick up Joe Miller. These two versions end this scene with the law student responding "Do I?" to Joe Miller's question concerning whether Miller looked gay. In the theatrical, home video and premium channel versions, Joe Miller continues to berate the law student with bigot remarks regarding homosexuals. See more »
Philadelphia is a guttingly emotional and tragic story of how a lawyer fired for having AIDS attempts to vindicate himself in court. Tom Hanks gives perhaps the most powerful performance of his career as Andrew Beckett, the afflicted lawyer. He received the Academy Award in a waltz, and you could almost pick any of his major scenes as worthy of the award.
This movie is probably the best drama regarding gay issues ever made. Remember, it was made in 1993, when AIDS was still a terminal disease, and it recalls the early days of an epidemic that may not square with the vision afforded today, but at the time, this was the reality of AIDS.
The entire crew is A-List. Tak Fujimoto, who would also film Silence of the Lambs and Sixth Sense, directed cinematography. Jonathan Demme, also of Silence of the Lambs fame, directs with typical honesty and grit. Bruce Springsteen and Neil Young contributed hauntingly touching original songs. Even Antonio Banderas, whom I never miss an opportunity to vilify, is moving as Hanks' devoted and supportive partner. Denzel Washington was well cast as the homophobic lawyer who ultimately takes Hanks' case, and Mary Steenburgen is surprising in an uncharacteristic villain role.
Ron Vawter, who played one of the lawyers in the firm from which Hanks was fired, and also appeared in Silence of the Lambs, was himself suffering from AIDS at the time of filming, and he eventually succumbed to it a few years later. His appearance in the film encapsulates the reality of the AIDS epidemic, in that it often touched our lives in unexpected places.
Although I have literally thousands of movies in my collection, I don't own this one. Not because I don't love it. I do. It's because I can't watch it without being overcome by emotion. Anyone who can watch Hanks' in the Opera scene, or hear Springsteen's or Young's eerie and melancholy ballads and not weep is dead inside. But in the end, Philadelphia is about life, and making it matter.
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