Philadelphia

Two competing lawyers join forces to sue a prestigious law firm for AIDS discrimination. As their unlikely friendship develops their courage overcomes the prejudice and corruption of their powerful adversaries.
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Credits: TheMovieDb.

Film Cast:

  • Andrew Beckett: Tom Hanks
  • Joe Miller: Denzel Washington
  • Charles Wheeler: Jason Robards
  • Belinda Conine: Mary Steenburgen
  • Miguel Alvarez: Antonio Banderas
  • Bob Seidman: Ron Vawter
  • Walter Kenton: Robert Ridgely
  • Judge Garnett: Charles Napier
  • Lisa Miller: Lisa Summerour
  • Jerome Green: Obba Babatundé
  • Young Man in Pharmacy: Andre B. Blake
  • Bud Beckett: Robert W. Castle
  • Clinic Storyteller: Daniel Chapman
  • Mr. Laird: Roger Corman
  • Jill Beckett: Ann Dowd
  • Bruno: David Drake
  • Dr. Gillman: Karen Finley
  • Kenneth Killcoyne: Charles Glenn
  • Peter / Mona Lisa: Peter Jacobs
  • Dr. Klenstein: Paul Lazar
  • Matt Beckett: John Bedford Lloyd
  • Judge Tate: Roberta Maxwell
  • Mr. Finley: Warren Miller
  • Juror: Harry Northup
  • Randy Beckett: Dan Olmstead
  • Filko: Joey Perillo
  • Iris: Lauren Roselli
  • Anthea Burton: Anna Deavere Smith
  • Shelby: Lisa Talerico
  • Jury Foreman: Daniel von Bargen
  • Librarian: Tracey Walter
  • Jamey Collins: Bradley Whitford
  • Chandra: Chandra Wilson
  • Melissa Benedict: Kathryn Witt
  • Sarah Beckett: Joanne Woodward
  • Crutches: Buzz Kilman
  • Clinic Patient: Mark Sorensen Jr.
  • Tyrone: Jeffrey Williamson
  • Rachel Smilow: Stephanie Roth Haberle
  • Dr. Armbruster: Bill Rowe
  • Alan: Ford Wheeler
  • Himself: Julius Erving
  • Jill’s Husband: Adam LeFevre
  • Guido Paonessa: Gary Goetzman
  • Juror: Kenneth Utt
  • Juror: Lawrence T. Wrentz
  • Ralph Peterson: Charles Techman
  • Not Adam and Steve: Jim Roche
  • Bartender: Tony Fitzpatrick
  • Bailiff: Gene Borkan
  • Party singer: Q. Lazzarus
  • Robert: Lucas Platt
  • Miguel’s Dad: José Castillo
  • Partygoer (uncredited): Roy Blount Jr.
  • PR Director (uncredited): Bob Bowersox
  • Guest at Party (uncredited): Quentin Crisp
  • Reporter (uncredited): Tom Detrik
  • Security Guard (uncredited): Tony Devon
  • Doctor (uncredited): Tak Fujimoto
  • Guest (uncredited): Ana Leza
  • Guy in Library (uncredited): Jaime Gomez

Film Crew:

  • Original Music Composer: Howard Shore
  • Costume Design: Colleen Atwood
  • Casting: Howard Feuer
  • Production Sound Mixer: Chris Newman
  • Producer: Jonathan Demme
  • First Assistant Director: Ronald M. Bozman
  • Producer: Edward Saxon
  • Unit Production Manager: Kenneth Utt
  • Director of Photography: Tak Fujimoto
  • Editor: Craig McKay
  • Set Decoration: Karen O’Hara
  • Second Unit Director: Kristi Zea
  • Art Direction: Tim Galvin
  • Dolly Grip: Billy Miller
  • Executive Producer: Gary Goetzman
  • Hair Designer: Alan D’Angerio
  • Casting Associate: Nicole Arbusto
  • Camera Operator: Tony C. Jannelli
  • Author: Ron Nyswaner
  • Supervising Sound Editor: Ron Bochar
  • Foley Artist: Marko Costanzo
  • Costume Design: Lisa R. Frucht
  • Script Supervisor: Anne Gyory
  • Dialogue Editor: Fred Rosenberg
  • Second Assistant Director: Drew Ann Rosenberg
  • Dialogue Editor: Laura Civiello
  • Music Editor: Suzana Peric
  • Associate Editor: Colleen Sharp
  • Foley Editor: Frank Kern
  • Costume Supervisor: David Davenport
  • Makeup Designer: Carl Fullerton
  • Title Designer: Pablo Ferro
  • “B” Camera Operator: Bruce MacCallum
  • Steadicam Operator: Garrett Brown
  • Second Assistant Camera: Andrew Casey
  • Sound Re-Recording Mixer: Tom Fleischman
  • Electrician: Steven Litecky
  • Wigmaker: Peter Owen
  • Hairstylist: Kenneth Walker
  • Property Master: Robert Griffon Jr.
  • ADR Editor: Deborah Wallach
  • Makeup Artist: Edna Sheen
  • Unit Production Manager: Steve Rose
  • First Assistant Camera: Patrick Capone
  • Foley Editor: Eliza Paley
  • Costume Supervisor: Timothy Alberts
  • Still Photographer: Ken Regan
  • Foley Editor: Steven Visscher
  • Art Department Coordinator: Francine Byrne
  • Music Editor: Nicholas Meyers
  • Assistant Costume Designer: Kathleen Gerlach
  • Rigging Gaffer: Ken Connors
  • Foley Supervisor: Bruce Pross
  • Production Supervisor: Thomas A. Imperato
  • Unit Publicist: Judy Arthur
  • Location Manager: Neri Kyle Tannenbaum
  • Boom Operator: Dennis Maitland II
  • First Assistant Editor: Debra C. Victoroff
  • Color Timer: David Bryden
  • Key Grip: James Finnerty, Jr.
  • Chief Lighting Technician: Russ Engels

Movie Reviews:

  • John Chard: What do you love about the law, Andrew?

    Andrew Beckett is a gay lawyer infected with AIDS, who in spite of being his law firm’s rising star, is fired on a trumped up charge of negligence. Refusing to accept defeat, Andrew manages to enlist the help of homophobic lawyer Joe Miller, whom it’s hoped, can prove that the firm acted disgracefully out of fear of Andrew’s illness. But can Joe throw off his own prejudice? Can Andrew keep it together as AIDS starts to take a hold?

    Philadelphia was the film to really bring the horrors of AIDS to the masses. Though certainly not the first film to deal with the subject, films such as “An Early Frost (1985)” and “As Is (1986)” had led the way, Philadelphia is certainly the most memorable of all the mainstream films dealing with the subject.

    As the years have rolled by, the film’s standing has waned some what, gays have renounced the film as over sentimental gloop and various other cinema critics have accused the film of confusing its aims. The truth is that Philadelphia is only really guilty of playing it safe. Andrew Beckett is clearly wronged, and he’s clearly a lovely and special man, supported by a complete and loyal loving family. It’s the character set up that never really puts the film in any real danger of becoming edgy, even the strand dealing with homophobia is only briefly given credence. However, where the makers do achieve their aims, is with the emotional aspects, something that lifts Philadelphia to a far higher plain in the pantheon of emotional kickers.

    The tone of the film is set courtesy of Bruce Springsteen’s Oscar winning “Streets Of Philadelphia”, which acts as a sombre portent of things to come during the opening credit sequence. From here on in the story is content with gnawing away at our heart strings and breaking down prejudice barriers in the name of fair play and adult fallibility’s. Part court room drama and part human tragedy, Philadelphia is never found wanting in the engrossing department, something that is in no small amount due to the work of a firing on all cylinders cast.

    Tom Hanks is always pretty safe company to be in as a rule, but tackling the role of Andrew Beckett required much more than merely charm and a homely appeal. Hanks, winning his first Best Actor Oscar, steps up to the plate here and delivers one of the best performances of the 90s. As AIDS ravages his body and soul, Hanks as Andrew reaches deep down within and has the audience with him all the way through his ordeal. Alongside Hanks is Denzel Washington as Joe, who if anything has the more prickly role to contend with. It’s probably not much of a surprise to most followers of his to say he’s on his usual great form here, with a shift in his character’s fortitude showcasing the best of the New Yorker’s ability. Rounding out the cast, and with equally fine performances are Jason Robards, Joanne Woodward, Robert Ridgely, Mary Steenburgen and Antonio Banderas. Then as surely as Springsteen’s opener had set the mood, Neil Young closes the film down with his own heart achingly brilliant “Philadelphia”, playing alongside some video footage that finally seals the deal as to why Philadelphia as a movie exists.

    Revisits to the film show up its minor flaws, but as someone who remembers how he, and the other multi sexed audience reacted on leaving the cinema back in 1993, it’s the kind of impact that to my mind can never be understated. 9/10

  • Peter McGinn: Yet another of those movies I watched close to when it came out umpteen years ago, and only recently watched again.

    For entertainment value, it hasn’t aged particularly well for me. I am not sure I can even describe why, except that it seemed to lack energy. There are a lot of good small moments, but its big moments struggle to live up to their potential. The courtroom scenes slow the story down in places, and the climactic scene that decided the case wasn’t convincing to me.

    Still, this was an important movie addressing the AIDS when it came out, and the two low lead actors, even though they both give an understated performance, carry the film quite nicely.

  • Ryan: Compelling performances by both Tom Hanks and Denzel Washington. And to think I almost didn’t watch this because the poster doesn’t look like Hanks…
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