The Boys Next Door

Firstly i have to admit that i have not seen the stage play of the movie and unless Robert Sean Leonard is going to be in it, i am unlikely to :OD

i happened across this movie one afternoon and thoroughly enjoyed it. so much so that Tony Goldwyn's character inspired me to write a short story (i am a writer).

I understand that while many of you have witnessed first hand the performances in the play whether as an audience or the cast, i feel its unfair to criticise the movie. i didnt feel that Robert Sean Leonard was hogging the movie (in fact like him or not, i'd have been happier seeing a whole lot more of him - the man being very easy on the eyes and a magnificent actor). Norman and his housemates were all very good too.

i enjoyed the movie so much that the next time it came on i taped it and n ow i've put in an order to purchase it.

By the way, my fave parts have to be (other than RSl and TG's performances), the 'catch it, kill it and flush it' scene, norman's head having to be 'moved' by Jack when norman sees the neighbours keys, and Jacks response to Barry's father when he asks, 'what are you? like a 'keeper'?' and he replies, 'no, i'm like a 'friend'.

superbly acted.....10/10

evelyn

When neighbors and friends asked my parents what I wanted for my birthday, my Mother simply informed them "If it's a Hallmark Hall of Fame movie, she'll love it!" I only received one HHoF movie, and that was "The Boys Next Door." I had never heard of or seen this film anywhere before. After I got home I immediately popped in in my DVD player and I haven't gone a day without seeing it since!

Robert Sean Leonard, Michael Jeter, Courtney B. Vance, and Nathan Lane are the "The Boys Next Door." 4 mentally challenged men who, together, make you laugh, cry, scratch your head,scream....you feel every emotion with these guys around. Lucian P. Singer, aka Courtney B. Vance, and Norman Bulanski, aka Nathan Lane, are developmentally challenged. Norman has an obsession with Donuts and keys. Look out! He also has a big crush on developmentally challenged Sheila, portrayed beautifully by Mare Winningham. Arnold Wiggins, aka Michael Jeter, is manic depressive and has recently purchased 9 boxes of Wheaties, 7 heads of lettuce and a bag of Charcol Biqquets, which come in and out of the story the whole length of the film. And then there's Barry. Barry Klempur is schizophrenic (however you spell it!) and has himself convinced he's a golf pro. He has had a rough relationship with him family and when he learns his father is coming to visit him for the first time in ages, it sends him into a tailspin. Tony Goldywn is Jack, their social worker and best friend. He is their solid rock, their lighthouse in the storm, their....you get the point. Without Jack, their world would fall to pieces.

And he knows it too. Jack is feeling guilty about leaving his wife out of his life, which is made up of these 4 guys, and is strongly considering taking a different job, car leasing. It all begins to go down hill when Jack springs the news on his boys. They don't think of themselves as his "job." Who wants to be thought of as a "JOB?" "You tell the good news, you announce the bad stuff," as Barry tells Lucian, moments before Jack's "big announcement." Shortly after Jack's telling them, Barry's father arrives, which, in turn, puts Barry on the 6th floor.

The remaining "Boys Next Door," throw Jack a big surprise party. Jack swings by the hospital and picks up a still shaken Barry and takes him to the house. Arnold has decorated the house with ANYTHING he could find, and bought animal puppets so you are "now 3 guests at a party instead of one!" Everything goes well until Jack tries to explain he's not going to be around anymore. Barry blurts it out "He's leaving you forever! He's leaving me and not coming back!" The guys start crying and Barry walks out. Arnold rounds the boys up and tells them that they're taking the train to Russia! Jack can't stand for this....I've said too much. You'll just have to watch to find out the rest.

I adore "The Boys Next Door." I recommend this movie to anyone and everyone! WATCH IT! 5 stars all the way!

In bringing Tom Griffin's touching play to the screen, director John Erman and his remarkable cast have brought warmth and respect to The Boys Next Door. It is clear that the team wanted to be faithful not only to Griffin's text, but also to the disabled community. Viewers can easily see that the artists are taking the job of crafting the comedy very seriously.

The performers in this talented ensemble bring great dignity to these characters. Courtney Vance is especially touching as Lucien, and challenges the audience's perceptions of the challenged in a moment of theatrical magic.

This movie is worth seeing by anyone who is looking for something more than simple laughs. While the movie is very funny, it also makes an important comment about the inherent worth of all people, regardless of their outward appearance of ability or disability.

A viewer unfamiliar with the original stage production won't realize how much was lost in transitioning this story to the (small) screen, but playgoers will be intensely disappointed with the script revisions to Tom Griffin's original story, which equally emphasized the joys as well as the sorrows of these four men. This film version is a surprisingly humorless tale, made unnecessarily darker by the screenwriters' need to snow-shovel "substance" and "meaning" into every scene. In the play, for example, the visit by next door neighbor, Mrs. Warren, is played strictly for laughs, but in the film the humor of the situation is de-emphasized in favor of stressing, as it does ad nausium, both the barriers "the boys" face and the mounting pressures placed on their caregiver, Jack.

In fact, all we see in this telling are barriers: Arnold's inability to keep from being exploited, Barry's inability to keep from being abused by his father, Norman's and Sheila's inability to express affection for each other, Lucian's inability to express himself at all. It's telling that the only positive outcome in the film is that Jack's marriage is repaired in the last reel which, in typical Hollywood "happy ending" style, was grafted onto the story. In the original, Jack was divorced at curtain's rise and his not-so-subtle bitterness at this was an added facet to his increasing burn-out, not a full-blown sub-plot.

That the producers of the film chose to focus more on Jack's marriage than on `The Boys' betrays the discomfort they had with the humorous aspects of the material. This impression is amplified by the way Barry is portrayed. There's a far greater emphasis on Barry in the film, and the film Barry is a far more menacing character than the stage version. It's not enough to have Barry's dad drag him out to a driving range to traumatize him (a sequence far longer than in the stage version), but we have yet another Barry-centered `crisis' near the end of the film as well.

The producers unceasingly emphasis the darker aspects of the story, and both the characters and the story itself suffer as a result. In the stage production, Arnold's run-in with the corner grocer comes and is dealt with in the first part of the first act. The point that he is exploited, as many mentally disabled are, is made through Arnold's soliloquizing his troubles with a bully named Melvin. What is completely lost in the film is that Arnold is completely oblivious to the fact that he is being exploited (a point that perhaps network executives might not want made on commercial television).

To their credit, the screenwriters did try to replicate the two most effective stage effects of the original productions, the `dance scene' and Lucian's speech. Irritatingly, they undercut the meaning of both sequences with the cheap cinematic effect of showing us Jack's face in close-up before both of them, so we get the message, `this is how Jack sees them,' rather than `this is how they really are!' Given that the screenwriters were more interested in showing `the boys' as problems rather than people, it's not surprising that they were allowed to shine only in Jack's eyes, not in theirs, or ours.

That's not to say there aren't any redeeming qualities to the film production. The relationship between Arnold and Mrs. Fremus, which begs the question, `which of these two people is saner?' is a nice addition. But here, again, what's emphasized is the negative aspect of the relationship (Arnold is again exploited, this time for the cost of a magazine subscription). Always, it's the negative aspects of their lives that we're forced to see, again and again.

Most heartbreaking was the portrayals of Norman and Sheila. Both Nathan Lane and Mare Winningham are both truly gifted actors, but to say I was disappointed by their interpretations would be a gross understatement. Mr. Lane chooses to play Norman as a caricature, offering us little more than a Lou Costello impersonation. And Ms. Winningham plays Sheila as sullen and aloof, in complete contradiction to the lines she was given. The most joyful and uplifting scene in the entire show, the scene where Norman gives Sheila her keys (can the analogy be any less obvious?!?) is played in the film as yet another excuse to show how incomplete and imperfect their lives are. In the play, we see how much Norman and Sheila make each other happy. Their love for each other sustains them as does any other two people deeply in love. But in the film, all we see is what they're not.

And that's the chief difference between the stage and film versions of The Boys Next Door. In the play, we see the problems, yes, and the limitations, but we're also allowed to laugh with them and share their joys. In the film version, all we get are the sorrows. In the stage production, we get to spend two hours with people we get to know and love and will truly miss when it's time to go. In the film version, we're told a sad story about sad people who we end up feeling sorry for.

I felt sorry for film Norman, but I fell in love with stage Norman. The film is okay for what it is, but you'll only get the chance to really fall in love with `The Boys Next Door' if you experience it on the stage. For it's there, and only there, that they truly do shine.

This Hallmark Hall Of Fame film lives up to its usual mark of excellence for the T.V. audiences. Based on a play by Tom Griffin ( which I have not yet seen), it describes the sometimes comedic, sometimes tragic lives of four men in a transitional home for those who cannot eke out a "normal" living due to psychiatric and/or developmental disabilities. Norman (Nathan Lane) is moderately mentally challenged, but has the demeanor of a 10 year old. Lucien (Courtney B. Vance) is severely developmentally disabled, and although he's perhaps in his late twenties, has a mind of a 4 year old. Arnold (Michael Jeter) is both mentally challenged and bipolar, which makes him an interesting, if not unstable character. Barry (Robert Sean Leonard) is a young man in his early to mid twenties, but has trouble dealing with reality due to his schizophrenia. At the helm of this fascinating ship of misfits is Jack (Tony Goldwyn) the social worker and the key to helping these men live as independently as possible. The relationships between these four men with special needs and the social worker with HIS special needs (a neglected marriage) are intertwined with various effect...sometimes hilarious, sometimes painful, but always moving. Although it is always difficult for the movie industry to portray any subject dealing with mental illness/developmental disability, this film does an above average job. However, I can't help but feel that too much material was squashed into the script, that the movie didn't "flesh out" the characters enough. Nathan Lane,though a comic genius and gifted actor, appeared to be a little too caricatured in his role. Courtney B. Vance was far and away the most realistic in his portrayal of the perennial child. Michael Jeter was funny, but he didn't have the essential qualities that a manic person would display on a consistent basis. Robert Sean Leonard is an astute actor, but failed to convince me that he suffered with schizophrenia. Tony Goldwyn was effective as the social worker who is co-dependent with his four charges, but never quite crystallized his sense of marital destruction towards his wife. Despite these shortcomings, "The Boys Next Door" rates as a top-notch film. If nothing else, this off-beat story will compel me to read or watch Griffin's play.