The film is set in an Upper East Side apartment in Manhattan in 1968.

Act I edit

Michael, a Roman Catholic, recovering alcoholic and sporadically employed actor, is hosting a birthday party for one of his friends, Harold. Michael's best friend, Donald, a self-described underachiever, arrives early because of a cancelled therapy session, and helps Michael prepare. Donald observes that Michael has not been drinking the past five weeks, and Michael says he quit drinking and smoking because his bad habits leave him in a vicious cycle. Alan, Michael's (presumably straight) former college roommate, calls with an urgent need to see Michael. Michael reluctantly agrees and invites him to come over.

One by one, the guests arrive. Emory is a flamboyant interior designer. Hank, a soon-to-be-divorced schoolteacher, and Larry, a fashion photographer, are a couple whose relationship is on the rocks, struggling with monogamy. Bernard is an amiable bookstore clerk. "Cowboy", a hustler and Emory's "gift" to Harold, arrives. Michael warns his guests that Alan is an uptight straight conservative, that he has never come out to Alan, and asks his guests to be discreet in their behavior.

Alan calls again to inform Michael that he will not be coming after all, and the party continues. However, Alan arrives unexpectedly, finds Michael and his friends line-dancing Heat Wave, and throws the gathering into turmoil. Alan bonds with Hank, whom he mistakes as being straight, and shows discomfort towards Emory's flamboyant behavior. Michael takes Alan to his bedroom to discuss Alan's urgent conversation, but Alan dodges his questions except to say he has left his wife.

As tensions mount, Alan descends from the upstairs bathroom and announces he's leaving. Emory chides him for being attracted to Hank, which results in Alan punching Emory and calling him a "faggot". During the ensuing chaos, Harold finally makes his grand appearance. In the middle of the scuffle, Michael impulsively begins drinking and smoking again and becomes abusive. As the guests become more and more intoxicated, hidden resentments begin to surface.

Act II edit

As Hank helps a vomiting Alan in Michael's bathroom, Michael and Harold trade vicious insults over Harold's obsessive insecurity about his appearance and Michael's financial irresponsibility. Emory brings out Harold's birthday cake and presents. Emory's birthday present is an evening with Cowboy, a prostitute. From Michael, he receives a silver-framed photo of himself, with an inscription that Harold keeps private when asked what it says. Touched, he thanks Michael sincerely for the gift.

Alan tries to leave again but is stopped by Michael, who points out that he would have already left if he really wanted to. Michael informs everyone that they are playing a party game with the objective for each guest to call the one person he truly believes he has loved. Harold and Donald refuse to play, but the others give in. With each call, past scars and present anxieties are revealed. Bernard reluctantly attempts to call the son of his mother's employer, with whom he had had a sexual encounter as a teenager. Emory calls a dentist on whom he had had a crush while in high school. Both immediately regret the phone calls. After some bickering over Hank's doubt that serially unfaithful Larry will choose him, Hank and Larry call each other via two phone lines in Michael's apartment.

Michael accuses Alan of being a closeted homosexual. Michael tells Alan that Justin, their other college roommate, claimed to have had three sexual encounters with Alan. Justin had been devastated when Alan had terminated their friendship after Justin declared his love for Alan. Alan insists Justin's lies are revenge for being rejected. Michael coerces Alan to call Justin to apologize for his callousness. Michael hands the phone to Alan, but his game objective backfires when Alan calls his wife--instead of Justin--and reconciles with her.

Harold, the only one who can beat Michael at his games, informs Michael that no matter what games of humiliation Michael plays, he will always be a self-loathing homosexual. Harold departs, taking Cowboy and his presents, but pauses to tell Michael "I'll call you tomorrow." Emory leaves with a distraught Bernard, promising to sober him up on the way home.

Michael collapses and sobs in Donald's arms, wishing "if we could just not hate ourselves so much." Donald comforts Michael, telling him that his present despair is finally a sign of awareness that he might work on to improve his life. Donald asks if he ever learned what Alan wanted to confide in him, but Michael responds that Alan never said why he had left his wife. Michael leaves to attend midnight mass with the assurance that he will be seeing Donald next Saturday.

• Kenneth Nelson as Michael
• Leonard Frey as Harold
• Cliff Gorman as Emory
• Laurence Luckinbill as Hank
• Frederick Combs as Donald
• Keith Prentice as Larry
• Robert La Tourneaux as Cowboy Tex
• Reuben Greene as Bernard
• Peter White as Alan McCarthy
• Maud Adams as photo model (uncredited)
• Elaine Kaufman as extra/pedestrian (uncredited)

Mart Crowley and Dominick Dunne set up the film version of the play with Cinema Center Films, owned by CBS Television. Crowley was paid $250,000 plus a percentage of the profits for the film rights; in addition to this, he received a fee for writing the script.^[2]

Crowley and Dunne originally wanted the play's director, Robert Moore, to direct the film but Gordon Stulberg, head of Cinema Center, was reluctant to entrust the job to someone who had never made a movie before. They decided on William Friedkin, who had just made a film of The Birthday Party by Harold Pinter that impressed them.^[3]

Friedkin rehearsed for two weeks with the cast. He shot a scene that was offstage in the play where Hank and Larry kiss passionately. The actors who played them were reluctant to perform this on film, but eventually they did. However, Friedkin cut the scene during editing, feeling it was over-sensationalistic; nevertheless, he later admitted regretting that decision.^[3]

The bar scene in the opening was filmed at Julius in Greenwich Village.^[4] Studio shots were at the Chelsea Studios in New York City.^[5] According to the commentary by Friedkin on the 2008 DVD release, Michael's apartment was inspired by the real-life Upper East Side apartment of actress Tammy Grimes. (Grimes was a personal friend of Mart Crowley.) Most of the patio scenes were filmed at Grimes' home. The actual apartment interior would not allow for filming, given its size and other technical factors, so a replica of Grimes' apartment was built on the Chelsea Studios sound stage, and that is where the interior scenes were filmed.

Songs featured in the film include "Anything Goes" performed by Harpers Bizarre during the opening credits, "Good Lovin' Ain't Easy to Come By" by Marvin Gaye and Tammi Terrell, "Funky Broadway" by Wilson Pickett, "(Love Is Like A) Heat Wave" by Martha and the Vandellas, and an instrumental version of Burt Bacharach's "The Look of Love".

As per the review aggregator website Rotten Tomatoes, 90% of critics have given the film a positive review based on 20 reviews, with an average rating of 7.20 out of 10.^[6] On Metacritic, the film has a weighted average score of 65 out of 100 based on 14 critics, indicating "generally favorable reviews".^[7]

Contemporary critical reaction was, for the most part, cautiously favorable. Variety wrote that it "drags" but thought it had "perverse interest". Time described it as a "humane, moving picture". The Los Angeles Times praised it as "unquestionably a milestone" but refused to run its ads. Among the major critics, Pauline Kael, who disliked Friedkin, was alone in finding absolutely nothing redeeming about it.^[8]

Vincent Canby of The New York Times observed "Except for an inevitable monotony that comes from the use of so many close-ups in a confined space, Friedkin's direction is clean and direct, and, under the circumstances, effective. All of the performances are good, and that of Leonard Frey, as Harold, is much better than good. He's excellent without disturbing the ensemble...Crowley has a good, minor talent for comedy-of-insult, and for creating enough interest, by way of small character revelations, to maintain minimum suspense. There is something basically unpleasant, however, about a play that seems to have been created in an inspiration of love-hate and that finally does nothing more than exploit its (I assume) sincerely conceived stereotypes."^[9]

In a San Francisco Chronicle review of a 1999 revival of the film, Edward Guthmann recalled "By the time Boys was released in 1970...it had already earned among gays the stain of Uncle Tomism." He called it "a genuine period piece but one that still has the power to sting. In one sense it's aged surprisingly little — the language and physical gestures of camp are largely the same — but in the attitudes of its characters, and their self-lacerating vision of themselves, it belongs to another time. And that's a good thing."^[10]

Bill Weber from Slant wrote in 2015: "The partygoers are caught in the tragedy of the pre-liberation closet, a more crippling and unforgiving one than the closets that remain."^[11]

The film was perceived in different ways throughout the gay community. There were those who agreed with most critics and believed The Boys in the Band was making great strides while others thought it portrayed a group of gay men wallowing in self-pity.^[12] There were even those who felt discouraged by some of the honesty in the production. One spectator wrote in 2018: "I was horrified by the depiction of the life that might befall me. I have very strong feelings about that play. It's done a lot of harm to gay people."^[13][14]

While not as acclaimed or commercially successful as director Friedkin's subsequent films, Friedkin considers this film to be one of his favorites. He remarked in an interview on the 2008 DVD for the movie: "It's one of the few films I've made that I can still watch."^[3]

Accolades edit

Kenneth Nelson was nominated for the Golden Globe Award for New Star of the Year – Actor. The Producers Guild of America Laurel Awards honored Cliff Gorman and Leonard Frey as Stars of Tomorrow.

The Boys in the Band was released by MGM/CBS Home Video on VHS videocassette in October 1980, and was later re-released on CBS/Fox Video. It was later released on laserdisc.

The DVD, overseen by Friedkin, was released by Paramount Home Entertainment on November 11, 2008. Additional material includes an audio commentary; interviews with director Friedkin, playwright/screenwriter Crowley, executive producer Dominick Dunne, writer Tony Kushner, and two of the surviving cast members, Peter White and Laurence Luckinbill; and a retrospective look at both the off Broadway 1968 play and 1970 film.

On June 16, 2015, it was released on Blu-ray.

The 2011 documentary Making the Boys explores the production of the play and film in the context of its era.

Ryan Murphy produced a new film version of The Boys in the Band for Netflix in 2020. Joe Mantello, director of the play's 2018 Broadway revival, served as director of the new film version, which featured the entire Broadway revival cast, including Jim Parsons as Michael, Zachary Quinto as Harold, Matt Bomer as Donald, and Charlie Carver as Cowboy.^[15] The film was released by Netflix on September 30, 2020.

• Boys in the Sand – a gay porn feature film released in 1971
• The Boys in the Band – 1968 play
• LGBT culture in New York City
• List of American films of 1970
• List of LGBTQ people from New York City

• The Boys in the Band at IMDb  
• The Boys in the Band at AllMovie
• The Boys in the Band at Box Office Mojo
• The Boys in the Band at Rotten Tomatoes