Reviews (8)

Hilarious
I saw this film twice when it came out in LA in '89 or '90 and almost got a hernia from laughing. Sandra is truly OVER the whole Westernized idea of self-concept; she has irreverence for almost everything in pop culture, and...well, who can blame her? I listened to the soundtrack from the show again last weekend twelve years later and still laughed. She really has a way of tempering one's desire for too much self-importance, and the way she skewers fame is just... charmed!

One of a kind
This movie, WITHOUT YOU I'M NOTHING, is based on Sandra's off-broaway, smash hit one woman show. Whew.. that was a mouthful. Anyway I wasn't familiar with Sandra's work before I saw this but after I saw this, I was floored. It's funny, touching, silly, and crazy. It's one of the best movies/shows I've seen. During WITHOUT YOU I'M NOTHING Sandra takes jabs at people but she's also an incredible storyteller/comedian. She also sings and dances thoughout. This movie is like no other. It's dark humor, crazy stories, and Sandra's eccentric attitude is sure to entertain.

You'll be memorizing the lines from this movie in no time.
Sandra Bernhard's Without You I'm Nothing, the movie released in the winter of early 1990, followed on the heels of her 1988 off-Broadway stage production ... what she and others refer to in the movie as her "smash-hit one-woman show." There were several changes in monologues and one-liners to update the comedic appeal of the show. And the movie version visually re-vamped the story, taking Sandra from a fabulous existence as a successful stage performer in New York, during what she calls her "superstar summer," to an illusory existence back in her home in Los Angeles - her fictional manager in the film refers to it as getting Sandra back "to her roots, to ... upscale supper clubs like the Parisian Room."

There's a point to be made here. Sandra tries to appeal her liberal worldview to an audience that doesn't completely see it. In L.A. she's playing to a predominantly black audience, trying to relate her ideas and comedy when all these people seem to want is "Shashonna," a Madonna-look-alike stripper. And even then, with Shashonna dancing to drum beats that resemble those from "Like a Virgin," there's not much to be said for the audience's enjoyment of the show. The scene in the club throughout the movie is dryer than a bone. A funny scene to catch is of a rotund man from the audience helping Shashonna out of her pants.

But, if she's going down, Sandra's going down with style and force, conveying everything from foul confidence to punctured vulnerability ... right to the point at which she's naked (literally), pleading with the audience for acceptance and, yet, somehow still swimming in the pool of her own transparent stardom. Her interactions with celebrities like Calvin Klein, Jerry Lewis, Bianca Jagger, Ralph Lauren and (what we're lead to believe is) Warren Beatty are fictional and hilarious.

Sandra begins her show in her most awkward moment, performing a quiet but mystifying rendition of Nina Simone's song "Four Women" while dressed in African garb, singing lines such as "my skin is black," "my hair is wooly," and "they call me Sweet Thing."

She resurrects and celebrates the ghosts of underworld art: "Leave it to Andy [Warhol] to have the wisdom and sensitivity into the hours and hours of toil and labor that went into the Indian product ... that they've been so lucky to cash in on this whole Santa Fe thing happening."

She expounds on the excessiveness of Hollywood, consoling a distraught friend then admonishing him, saying "Mister, if this is about Ishtar, I'm getting up right now and walking out of your life forever because that's too self-indulgent for even me!"

Sandra illustrates the expectations of women in the age of feminism. In retelling her young-girl fantasy, she eventually concludes in relief, "I'll never be a statistic, not me. I'm under 35, and I'm going to be married!"

And she extols the opening of sexuality in society: "When he touches you in the night, does it feel all right, or does it feel real? I say it feels real ... MIGHTY real." And, finally, she cries for change in American society by channeling disco greats Patrick Cowley and Sylvester and proclaiming, "Eventually everyone will funk!"

All this comes in the form of glitzy, schmaltzy but wonderful cabaret performances of songs written and originated by Billy Paul, Burt Bacharach, Hank Williams and Laura Nyro, to name a few. At the same time, the idealized, fictional incarnation of Sandra -- her self-generated mirror image -- floats around town, a beautiful model with flowing gowns and tight bustiers reading the Kabala, studying chemistry and listening to NWA rap music.

Without You I'm Nothing exposes Sandra in what was then her most intimate and direct engagement with an audience to date. She explores emotions and existences that, up until then, she'd only toyed with as a regular guest on Late Night With David Letterman. Her almost child-like enthusiasm for shock, exhibited throughout the '80s, is thrown aside in the face of a subtler allure, and her confidence in the face of materialism and American celebrity proves refreshing. This approach to comedy would change Sandra's direction forever and mark the more mature, more personable entertainer to come.

If you like subtle humor to the point of engaging in inside jokes about glamour, celebrity, sex, loneliness, despair and shallow expressions of love and kinship, this movie will keep you in stitches. But see it with a friend "in the know" because it's definitely funnier that way. Before you know it, the two of you will be trading Sandra barbs and confusing the hell out of everyone else.

A Masterpiece of Black Comedy: rent it, buy it, steal it
Sandra's off-the-cuff remark that "my father is a proctologist and my mother is an abstract artist: that's how I see the world" is an early warning of her often scatological, often surrealist commentaries on the conventions and pop culture of our time. The wild musical interludes, broken up by deadpan monologues, and hilariously backhanded commentary by her fictionized former agent and an old "friend", will never be forgotten by any viewer, whether fan or not.

In this earlier incarnation, Sandra was the foremost artist of emotional abjection. A character who encounters rejection and misunderstanding everywhere, yet one whom the viewer soon identifies as easily the most intelligent person in the room. It is neither her religion nor her sexuality which marginalize her, but the particular pitch of her wit and her kaleidescopic view of cultural phenomena.

Sandra's scatter-shot talents range from singing to dancing to acting to writing, but, as this film demonstrates, the sum of her brilliance is greater than any one (though also brilliant!) part.

Sandra is a national treasure who might just change and even save your life. She is tragi-comedy incarnate. Support her artistic productions: as a one-of-a-kind artist, she is certainly an endanged species.

It will change your life
My introduction to Sandra Bernhard, the ultimate sage of our times, came when I went to see "Without You I'm Nothing" in the movie theater when it was first released. I knew nothing about her and was blown away by her wit and insight into American culture. I have never been in a movie audience that laughed as hard and as often than when I saw this film. Sandra has that uncanny ability to be at once hilariously funny and deeply moving. Her stage performances are brilliant and "Without You I'm Nothing" captures her brilliance in an innovative and creative way - this film is not simply a multi-camera shoot of a stage performance, but utilizes fiction, documentary and stage elements all at once. ... Read more

Amazon.com

Harvey Fierstein had a smash hit on Broadway with the stage version of this story about a drag queen, but whatever the magic there was doesn't show up in this film adaptation. (Fierstein allegedly couldn't line up an A-list or even B-list director in 1988 to tackle the gay story line, so he agreed to work with Paul Bogart, a ubiquitous television director but an undistinguished feature filmmaker.) Fierstein's performance is fine, but likely a shadow of his live work, while Anne Bancroft is very strong in the role of his character's mother. Matthew Broderick went against the tide of fear shared by most Hollywood actors at the time about playing gay characters. The times have certainly changed since then. --Tom Keogh ... Read more

Reviews (46)

"A pretty person who goes after a ugly person gets cab fare"
In 1988, the film version of the Tony Award-winning, landmark play "Torch Song Trilogy", which was written by the outspoken and very witty Harvey Fierstein, was released to theaters. Written originally as three separate one-act plays between 1978 and 1979 ("The International Stud", "Fugue in a Nursery" and "Widows and Children First"), Harvey Fierstein combined them into the more familiar three-act play "Torch Song Trilogy" in 1981 since each one-act play focused on the life of a gay man named Arnold (played by Harvey Fierstein), who is a gay drag-show entertainer. In the first act, Arnold meets a stranger at a bar named Ed (Brian Kerwin). A precarious relationship develops quickly between Ed and Arnold, but Ed also wants to marry a woman named Laurel (Karen Young). In the second act, Arnold meets a young man named Alan (Matthew Broderick) at the club where Arnold performs. A long-term relationship develops between Arnold and Alan until an unexpected tragedy occurs. The third act focuses on Arnold taking care of a teenaged son, David (Eddie Castrodad) that he & Alan had adopted, as well as Arnold's ongoing difficulties with his mother (Anne Bancroft).

With excellent dialog, engaging personalities and superb acting, "Torch Song Trilogy" is a fantastic film, demonstrating not only the love that exists within gay couples, but also the very real difficulties that many gay men face in their daily lives, including the all-too-often difficulties with family members who cannot accept them for who they are. Harvey Fierstein's unique voice adds a special flare to his drag show performances, as well as to his arguments with his mother. Anne Bancroft's performance is superb and emotional. Matthew Broderick did a wonderful portraying Alan. Interestingly, he had played the teenaged son David when "Torch Song Trilogy" was being performed on stage as a play. Brian Kerwin and Karen Young also portray their roles well. Other significant characters in the film include Bertha Venation (Charles Pierce), Marina Del Rey (Alex Vera), the young Arnold (Benji Schulman) and Murray (Kevin Page). Overall, I rate "Torch Song Trilogy" with 5 out of 5 stars. It's especially great to be able to watch the film on widescreen DVD.

The great Harvey
I adore this movie for its lead performances and sheer sense of life. It's a one-of-a-kind film with the most unconventional leading man ever to appear in a Hollywood feature: the unforgettable Harvey Fierstein. Not only does Fierstein dominate every scene in which he appears, but he also wrote the screenplay adaptation from his original Broadway play.

The stage version of Torch Song Trilogy, as its title suggests, consists of three self-contained one-act plays. Performed together, the three plays tell the continuing story of Arnold, a Brooklyn drag queen extraordinaire. The movie follows the stage version fairly closely, but adds several new characters along the way, together with some fresh (and sparkling) dialogue in this most quotable of movies. All of the additions, in fact, improve on the original, and Ken Page and Charles Pierce in the roles of Arnold's fellow performers endow the movie with some marvellously campy moments.

The movie is alternately hilarious and heartbreaking. It also manages to be thought-provoking without being preachy. Anne Bancroft is superb as Harvey Fierstein's larger than life mother, and the many confrontational moments between the two are as powerful as they are truthful. Some have complained that Bancroft's performance is too over the top in a scenery-chewing kind of way, but I loved it. Besides, as gay friends in the same situation as Fierstein's character have told me, this is exactly how their mothers reacted to THEIR homosexuality.

Among the other cast members, Brian Kerwin does a fine job as Ed, the confused bisexual lover of Arnold, and Matthew Broderick is a winsome Alan, the young man who walks into Arnold's life at an unexpected moment in the movie. Broderick was no stranger to Torch Song Trilogy, having played the part of David, Arnold's adopted son, in the 1981 stage version. Here the part of David is played by newcomer Eddie Castrodad, who plays an almost-convincing 15-year-old despite the fact that he was in his early 30s at the time.

But it is Harvey Fierstein whose extraordinary presence, wit, and acting range hold this movie together. For those who have only seen his cameo roles in Hollywood fodder such as Independence Day and Mrs Doubtfire, his performance here will come as a huge surprise. He is unique; there is no other word for it.

The only blight on this otherwise splendid movie is Paul Bogart's flat, uninspired direction. His treatment simply lacks the magic touch this story so richly deserves, and it's a great shame that such an outstanding cast and script were let down by his TV movie approach.

But don't let that put you off buying this priceless gem of a movie.

The best gay film of all time
Every person that I turn on to this movie absolutely loves it and eventually adds it to their dvd collections as a result. Even after watching TST many, many times (and believe it or not, it is playing now!) I still believe it is the very best gay themed movie of all time..and I have seen them all...Superb acting, laugh-out-loud funny and very touching...Bancroft and Fierstein shine!

If you are straight (or gay in some cases) and can't stand gay people, don't even bother renting or buying this film. But, regardless of your sexual orientation, if you are a mature, openminded person, and respect all people for who and what they are, you will enjoy it.

Get it. You'll love it!

Warm and Funny and Heartfelt
I gave this 5 stars based on its original release date. Yes, it is a bit dated now, but it really does not hurt the film if you look at it as a snapshot of the time. Fierstein is just wonderful. I dare you to not love Arnold by the end of this movie. He is warm, funny, sentimental, loyal, and kind - and still not sappy; an oddball hero that you can't stop hoping for. (ugh- preoposition). Broderick is charming and romantic as the knight in shining armor. Kerwin is heartbreaking and has some beautiful scenes to work with here. Bancroft is a force-of-nature and while she is sometimes over-the-top, she still remains very human. A comedy, semi-period piece, love story about family,blood or otherwise, and the things that bring us together and ultimately hold us together. Quite wonderful actually.

The No.1 Classic Gay Drama I have Ever Watched.
Finally, I have seen a gay movie which is not merely about the misery of being dumped by a gay lover or trying to come out in a family.

Torch Song Trilogy is a biographical work about the life of the protagonist drag queen, Arnold. The movie starts humourously with the mother's discovery of the son hiding in a closet and trying to beautifying himself with her make-up. The mother yelled, "What are you doing in the ---". Then the mother knew what was going on.

The movie can be basically divided into three parts (that's why it's titled trilogy) - his career as a professional drag queen (or politically correct - a female impersonator), during which he knew a bisexual man; his falling in love with a middle class boy who is still uncontaminated by the world. He, however, was sadly, killed by hateful discrimination. Finally, the movie has a touch of adopting a (gay) son and brings out the issue of gay parenting. The movie ends with a fight, not a reconciliation, between the mother and the gay son. Each part of the movie tells you the life and the bumpy road Arnold was living through at the moment. The movie does not depict it in a pitiful way, or else, it lets the plot bring out the emotio spontaneously to the audience. The dialogues are clever, symbolic and witty. The acting is professional and does not go over the top. The director deals with the fantastic scripts carefully and the final scene of Arnold holding the three most valuable things in his life in a chair is simply self-effacing.

Torch Song Trilogy is a gay classic drama. There is nothing pretentious. The movie does not ask for your pity for Arnold's tragic life, but your understanding of what he has been through. ... Read more

Reviews (8)

Hilarious
I saw this film twice when it came out in LA in '89 or '90 and almost got a hernia from laughing. Sandra is truly OVER the whole Westernized idea of self-concept; she has irreverence for almost everything in pop culture, and...well, who can blame her? I listened to the soundtrack from the show again last weekend twelve years later and still laughed. She really has a way of tempering one's desire for too much self-importance, and the way she skewers fame is just... charmed!

One of a kind
This movie, WITHOUT YOU I'M NOTHING, is based on Sandra's off-broaway, smash hit one woman show. Whew.. that was a mouthful. Anyway I wasn't familiar with Sandra's work before I saw this but after I saw this, I was floored. It's funny, touching, silly, and crazy. It's one of the best movies/shows I've seen. During WITHOUT YOU I'M NOTHING Sandra takes jabs at people but she's also an incredible storyteller/comedian. She also sings and dances thoughout. This movie is like no other. It's dark humor, crazy stories, and Sandra's eccentric attitude is sure to entertain.

You'll be memorizing the lines from this movie in no time.
Sandra Bernhard's Without You I'm Nothing, the movie released in the winter of early 1990, followed on the heels of her 1988 off-Broadway stage production ... what she and others refer to in the movie as her "smash-hit one-woman show." There were several changes in monologues and one-liners to update the comedic appeal of the show. And the movie version visually re-vamped the story, taking Sandra from a fabulous existence as a successful stage performer in New York, during what she calls her "superstar summer," to an illusory existence back in her home in Los Angeles - her fictional manager in the film refers to it as getting Sandra back "to her roots, to ... upscale supper clubs like the Parisian Room."

There's a point to be made here. Sandra tries to appeal her liberal worldview to an audience that doesn't completely see it. In L.A. she's playing to a predominantly black audience, trying to relate her ideas and comedy when all these people seem to want is "Shashonna," a Madonna-look-alike stripper. And even then, with Shashonna dancing to drum beats that resemble those from "Like a Virgin," there's not much to be said for the audience's enjoyment of the show. The scene in the club throughout the movie is dryer than a bone. A funny scene to catch is of a rotund man from the audience helping Shashonna out of her pants.

But, if she's going down, Sandra's going down with style and force, conveying everything from foul confidence to punctured vulnerability ... right to the point at which she's naked (literally), pleading with the audience for acceptance and, yet, somehow still swimming in the pool of her own transparent stardom. Her interactions with celebrities like Calvin Klein, Jerry Lewis, Bianca Jagger, Ralph Lauren and (what we're lead to believe is) Warren Beatty are fictional and hilarious.

Sandra begins her show in her most awkward moment, performing a quiet but mystifying rendition of Nina Simone's song "Four Women" while dressed in African garb, singing lines such as "my skin is black," "my hair is wooly," and "they call me Sweet Thing."

She resurrects and celebrates the ghosts of underworld art: "Leave it to Andy [Warhol] to have the wisdom and sensitivity into the hours and hours of toil and labor that went into the Indian product ... that they've been so lucky to cash in on this whole Santa Fe thing happening."

She expounds on the excessiveness of Hollywood, consoling a distraught friend then admonishing him, saying "Mister, if this is about Ishtar, I'm getting up right now and walking out of your life forever because that's too self-indulgent for even me!"

Sandra illustrates the expectations of women in the age of feminism. In retelling her young-girl fantasy, she eventually concludes in relief, "I'll never be a statistic, not me. I'm under 35, and I'm going to be married!"

And she extols the opening of sexuality in society: "When he touches you in the night, does it feel all right, or does it feel real? I say it feels real ... MIGHTY real." And, finally, she cries for change in American society by channeling disco greats Patrick Cowley and Sylvester and proclaiming, "Eventually everyone will funk!"

All this comes in the form of glitzy, schmaltzy but wonderful cabaret performances of songs written and originated by Billy Paul, Burt Bacharach, Hank Williams and Laura Nyro, to name a few. At the same time, the idealized, fictional incarnation of Sandra -- her self-generated mirror image -- floats around town, a beautiful model with flowing gowns and tight bustiers reading the Kabala, studying chemistry and listening to NWA rap music.

Without You I'm Nothing exposes Sandra in what was then her most intimate and direct engagement with an audience to date. She explores emotions and existences that, up until then, she'd only toyed with as a regular guest on Late Night With David Letterman. Her almost child-like enthusiasm for shock, exhibited throughout the '80s, is thrown aside in the face of a subtler allure, and her confidence in the face of materialism and American celebrity proves refreshing. This approach to comedy would change Sandra's direction forever and mark the more mature, more personable entertainer to come.

If you like subtle humor to the point of engaging in inside jokes about glamour, celebrity, sex, loneliness, despair and shallow expressions of love and kinship, this movie will keep you in stitches. But see it with a friend "in the know" because it's definitely funnier that way. Before you know it, the two of you will be trading Sandra barbs and confusing the hell out of everyone else.

A Masterpiece of Black Comedy: rent it, buy it, steal it
Sandra's off-the-cuff remark that "my father is a proctologist and my mother is an abstract artist: that's how I see the world" is an early warning of her often scatological, often surrealist commentaries on the conventions and pop culture of our time. The wild musical interludes, broken up by deadpan monologues, and hilariously backhanded commentary by her fictionized former agent and an old "friend", will never be forgotten by any viewer, whether fan or not.

In this earlier incarnation, Sandra was the foremost artist of emotional abjection. A character who encounters rejection and misunderstanding everywhere, yet one whom the viewer soon identifies as easily the most intelligent person in the room. It is neither her religion nor her sexuality which marginalize her, but the particular pitch of her wit and her kaleidescopic view of cultural phenomena.

Sandra's scatter-shot talents range from singing to dancing to acting to writing, but, as this film demonstrates, the sum of her brilliance is greater than any one (though also brilliant!) part.

Sandra is a national treasure who might just change and even save your life. She is tragi-comedy incarnate. Support her artistic productions: as a one-of-a-kind artist, she is certainly an endanged species.

It will change your life
My introduction to Sandra Bernhard, the ultimate sage of our times, came when I went to see "Without You I'm Nothing" in the movie theater when it was first released. I knew nothing about her and was blown away by her wit and insight into American culture. I have never been in a movie audience that laughed as hard and as often than when I saw this film. Sandra has that uncanny ability to be at once hilariously funny and deeply moving. Her stage performances are brilliant and "Without You I'm Nothing" captures her brilliance in an innovative and creative way - this film is not simply a multi-camera shoot of a stage performance, but utilizes fiction, documentary and stage elements all at once. ... Read more

Reviews (46)

"A pretty person who goes after a ugly person gets cab fare"
In 1988, the film version of the Tony Award-winning, landmark play "Torch Song Trilogy", which was written by the outspoken and very witty Harvey Fierstein, was released to theaters. Written originally as three separate one-act plays between 1978 and 1979 ("The International Stud", "Fugue in a Nursery" and "Widows and Children First"), Harvey Fierstein combined them into the more familiar three-act play "Torch Song Trilogy" in 1981 since each one-act play focused on the life of a gay man named Arnold (played by Harvey Fierstein), who is a gay drag-show entertainer. In the first act, Arnold meets a stranger at a bar named Ed (Brian Kerwin). A precarious relationship develops quickly between Ed and Arnold, but Ed also wants to marry a woman named Laurel (Karen Young). In the second act, Arnold meets a young man named Alan (Matthew Broderick) at the club where Arnold performs. A long-term relationship develops between Arnold and Alan until an unexpected tragedy occurs. The third act focuses on Arnold taking care of a teenaged son, David (Eddie Castrodad) that he & Alan had adopted, as well as Arnold's ongoing difficulties with his mother (Anne Bancroft).

With excellent dialog, engaging personalities and superb acting, "Torch Song Trilogy" is a fantastic film, demonstrating not only the love that exists within gay couples, but also the very real difficulties that many gay men face in their daily lives, including the all-too-often difficulties with family members who cannot accept them for who they are. Harvey Fierstein's unique voice adds a special flare to his drag show performances, as well as to his arguments with his mother. Anne Bancroft's performance is superb and emotional. Matthew Broderick did a wonderful portraying Alan. Interestingly, he had played the teenaged son David when "Torch Song Trilogy" was being performed on stage as a play. Brian Kerwin and Karen Young also portray their roles well. Other significant characters in the film include Bertha Venation (Charles Pierce), Marina Del Rey (Alex Vera), the young Arnold (Benji Schulman) and Murray (Kevin Page). Overall, I rate "Torch Song Trilogy" with 5 out of 5 stars. It's especially great to be able to watch the film on widescreen DVD.

The great Harvey
I adore this movie for its lead performances and sheer sense of life. It's a one-of-a-kind film with the most unconventional leading man ever to appear in a Hollywood feature: the unforgettable Harvey Fierstein. Not only does Fierstein dominate every scene in which he appears, but he also wrote the screenplay adaptation from his original Broadway play.

The stage version of Torch Song Trilogy, as its title suggests, consists of three self-contained one-act plays. Performed together, the three plays tell the continuing story of Arnold, a Brooklyn drag queen extraordinaire. The movie follows the stage version fairly closely, but adds several new characters along the way, together with some fresh (and sparkling) dialogue in this most quotable of movies. All of the additions, in fact, improve on the original, and Ken Page and Charles Pierce in the roles of Arnold's fellow performers endow the movie with some marvellously campy moments.

The movie is alternately hilarious and heartbreaking. It also manages to be thought-provoking without being preachy. Anne Bancroft is superb as Harvey Fierstein's larger than life mother, and the many confrontational moments between the two are as powerful as they are truthful. Some have complained that Bancroft's performance is too over the top in a scenery-chewing kind of way, but I loved it. Besides, as gay friends in the same situation as Fierstein's character have told me, this is exactly how their mothers reacted to THEIR homosexuality.

Among the other cast members, Brian Kerwin does a fine job as Ed, the confused bisexual lover of Arnold, and Matthew Broderick is a winsome Alan, the young man who walks into Arnold's life at an unexpected moment in the movie. Broderick was no stranger to Torch Song Trilogy, having played the part of David, Arnold's adopted son, in the 1981 stage version. Here the part of David is played by newcomer Eddie Castrodad, who plays an almost-convincing 15-year-old despite the fact that he was in his early 30s at the time.

But it is Harvey Fierstein whose extraordinary presence, wit, and acting range hold this movie together. For those who have only seen his cameo roles in Hollywood fodder such as Independence Day and Mrs Doubtfire, his performance here will come as a huge surprise. He is unique; there is no other word for it.

The only blight on this otherwise splendid movie is Paul Bogart's flat, uninspired direction. His treatment simply lacks the magic touch this story so richly deserves, and it's a great shame that such an outstanding cast and script were let down by his TV movie approach.

But don't let that put you off buying this priceless gem of a movie.

The best gay film of all time
Every person that I turn on to this movie absolutely loves it and eventually adds it to their dvd collections as a result. Even after watching TST many, many times (and believe it or not, it is playing now!) I still believe it is the very best gay themed movie of all time..and I have seen them all...Superb acting, laugh-out-loud funny and very touching...Bancroft and Fierstein shine!

If you are straight (or gay in some cases) and can't stand gay people, don't even bother renting or buying this film. But, regardless of your sexual orientation, if you are a mature, openminded person, and respect all people for who and what they are, you will enjoy it.

Get it. You'll love it!

Warm and Funny and Heartfelt
I gave this 5 stars based on its original release date. Yes, it is a bit dated now, but it really does not hurt the film if you look at it as a snapshot of the time. Fierstein is just wonderful. I dare you to not love Arnold by the end of this movie. He is warm, funny, sentimental, loyal, and kind - and still not sappy; an oddball hero that you can't stop hoping for. (ugh- preoposition). Broderick is charming and romantic as the knight in shining armor. Kerwin is heartbreaking and has some beautiful scenes to work with here. Bancroft is a force-of-nature and while she is sometimes over-the-top, she still remains very human. A comedy, semi-period piece, love story about family,blood or otherwise, and the things that bring us together and ultimately hold us together. Quite wonderful actually.

The No.1 Classic Gay Drama I have Ever Watched.
Finally, I have seen a gay movie which is not merely about the misery of being dumped by a gay lover or trying to come out in a family.

Torch Song Trilogy is a biographical work about the life of the protagonist drag queen, Arnold. The movie starts humourously with the mother's discovery of the son hiding in a closet and trying to beautifying himself with her make-up. The mother yelled, "What are you doing in the ---". Then the mother knew what was going on.

The movie can be basically divided into three parts (that's why it's titled trilogy) - his career as a professional drag queen (or politically correct - a female impersonator), during which he knew a bisexual man; his falling in love with a middle class boy who is still uncontaminated by the world. He, however, was sadly, killed by hateful discrimination. Finally, the movie has a touch of adopting a (gay) son and brings out the issue of gay parenting. The movie ends with a fight, not a reconciliation, between the mother and the gay son. Each part of the movie tells you the life and the bumpy road Arnold was living through at the moment. The movie does not depict it in a pitiful way, or else, it lets the plot bring out the emotio spontaneously to the audience. The dialogues are clever, symbolic and witty. The acting is professional and does not go over the top. The director deals with the fantastic scripts carefully and the final scene of Arnold holding the three most valuable things in his life in a chair is simply self-effacing.

Torch Song Trilogy is a gay classic drama. There is nothing pretentious. The movie does not ask for your pity for Arnold's tragic life, but your understanding of what he has been through. ... Read more