Tuesday, April 2, 2013

Philadelphia

Some will argue that a film, universe fundamentally a means of entertainment, can do little to deepen a national consciousness. Others, citing the power of the medium, will claim that move pictures possess this r be and extraordinary ability. These two opposing viewpoints are about to be put to the test with a pit of films that, while different in so many ways, bring in a number of fundamental similarities. The first is Steven Spielbergs Schindlers List. The second is Jonathan Demmes Philadelphia. For viewing audience of the latter movie, the question is not whether they sympathize with Tom Hanks AIDS-afflicted, ethereal character, but whether that sympathy opens up a different status on the victims of the disease in the real world.

Andrew Beckett (Tom Hanks), a sense law graduate from Penn, has a promising career forraders of him when he discovers that he has AIDS. Choosing not to tell his mentor at the firm, Charles Wheeler (Jason Robards), of either his disease or his sexual orientation, Andrew moves forward with his caseload as a senior associate, intending to fulfill his duties for as capacious as his handicap permits. But the partners learn of his affliction, and while their liberation is couched in terms of incompetence, Andrew knows that his AIDS and homosexuality are the blood cause.

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He takes his case to a number of lawyers, including ambulance-chaser Joe Miller (Denzel Washington), none of whom is willing to represent him -- until Miller has a change of heart, recognizing a hint of familiar discrimination in the way Andrew is being treated.

Tom Hanks gives what has rightly been called the performance of his career, lending human race and vibrancy to the victim, and portraying him in a manner that eschews maudlin, overt tactics to garner the audiences sympathy. We feel for Andrew Beckett because he seems to be a genuine human being, not because the script and production have twisted circumstances to manipulate our emotions.

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