Ramakanth T explores the dynamics of underlying prejudices in every aspect of life that Philadelphia so convincingly portrays May we never find space so vast, planets so cold, heart and mind so empty that we cannot fill them with love and warmth... There were perhaps very few films in the past which dealt with complex subjects like human prejudice as convincingly as Philadelphia (1993).
The story is about Andrew Becket (Tom Hanks), a brilliant young attorney who works with a formidable law firm in Philadelphia. He shows the first visible signs of AIDS when he is assigned a prestigious case by his firm. But to his shock, the management sacks him suddenly citing some alleged incompetence that might have cost them the case. When Andrew realises that he was actually a victim of ugly social discrimination because of his illness, he decides to fight against his ex-employer with the help of yet another smart lawyer Joe Miller(Denzel Washington) and wins the case.
The outraged justice, seductive story line and courtroom dramas are fairly familiar subjects for the filmmakers. But the craft of narration is so refreshingly innovative right from the word, go.
An uncomfortable experience of emotional indifference is established at the very beginning with some excellent montage shots super imposed by a stimulating song by Bruce Springsteen.
There is a kind of hurriedness, which perhaps reminds us of the fast deteriorating health of Andrew, juxtaposed with serene moments with soft dissolves to indicate the inevitable.
Joe Miller, the attorney who reluctantly agrees to accept the case of Andrew takes his time to outgrow his own prejudice on AIDS. "let's talk about what this case is really about; the general public's hatred...our loathing, our fear of homosexuals." ...he announces boldly in the court. Is he announcing his experience? Being a black man, would he have identified with such issues of being loathed and hated in his own life?
By the way, he himself doesn't approve of Andrew's lifestyle. "I hate homosexuals..," that's what he says to his wife in one of those dinner talks! And of course, the boss of the Andrew's law firm, Charles Wheeler (superbly played by Jason robards) would not have experienced any of these discriminations. After all, he was always on the right side of the `rules' according to him. When he is asked to talk in front of the judge, he describes Andrew as the guy who wants to benefit by the system, but doesn't want to play by the system's rules. But on Joe's questioning he states things like Andrew Becket's `character', the `society' being run by `these kinds of people' who want to bend the rules, `decent values,' getting the society back on the wheels etc...he says it all. A spectacular example of an intelligent, thinking man who is blinded by his own value system founded on moral prejudice.
He actually knows that it is not about a disease but about Andrew Beckett's character. He also knows that he fired Andrew because the choices he made in his life were simply unacceptable. The cigarmunching legal kingpin with his craggy face, gravelly voice, cannot believe to be dragged on to the mat to lose to Andrew, a disgusting show piece of social decadence.
In another scene, when Andrew makes Joe listen to an opera of Andrea Chenier, he talks about heartache in the voice of Madeleine, who was saved by her mother when a mob set fire to her house during the French revolution, sacrificing her own life. He talks about the lovely music which fills with hope. not very unconventional though, the extremely disturbing nature of this scene reveals the sudden surfacing of the lust for life of a dying man.
He quotes `It was during that sorrow that love came to me! A voice filled with harmony that said...live still, I am life'... What is going on? Probably his heart is craving for the love which finds as many reasons to accept than reject. A world without prejudices.
Philadelphia is a moderately melodramatic script worked on a neat arc and format, the film compelled to signal that the heart is at the right place. All the high points of the film are admirably understated. There are very few conventional emotional moments. no high drama at the time of the verdict. Death scene is heart-wrenching but not that dramatic. no rough edges as you see Andrew who is so lovable, is dying. Audience is made to involve in an uncomfortable subject like AIDS with a remarkable treatment as Joe, who is the defender himself never comes around with a broader perspective on the subject.
What are the other tools which work convincingly in dealing with subjects like prejudice? We need contrasts, which is again, thanks to the extremely tidy script, very well placed. The defense attorneys are a black man and a woman. To bring in the coalition on sympathies about the guy with AIDS, there is a brief show on a woman, a trial witness, who talks how she had innocently contracted the disease through infusion. To firm it up and to get the audience on his side, they show how beautiful his family picture is and where he enjoys unfailing support from his parents, sisters and brothers. The lawyer who works for him is small and the firm he 1993 Director : Jonathan Demme Writer (WGA) : Ron Nyswaner Genre : Drama Awards : Won 2 Oscars. Another 9 wins & 12 nominations Cast : Tom Hanks, Denzel Washington, Roberta Maxwell, Buzz Kilman... fights against is really a big bad one! To establish that it is not a film about AIDS, the filmmakers shrewdly ignored any intimate scenes between the characters. However, they made a very intelligent attempt to bring out every one's feelings, on the subject - mostly unfounded beliefs that are devastatingly discriminative. In the process, the audience is introduced to a completely new world of problems and sensibilities of AIDS patients for their acceptance.
This film is famous for oscar winning performances - brilliance of Tom Hanks, Denzel Washington and others. Tom Hanks connects every nagging issue about his condition to a basic human rejection. He rejects the societal alienation. He rejects the rights and wrongs of `common people'. He demonstrates the freedom of life as it was captured in a home video tape, which shows the little Andrew shouting gleefully as he chases a new puppy, squealing as he jumps into a tiny swimming pool, riding a bike with training wheels...he could not be bothered by what people think of him.
Both Jonathan Demme and ron nyswaner, were supported by some brilliant works of Tak Fujimoto (Camera), Craig McKay (editor) and Howard Shore (music).
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