There’s a risk in adapting a play for the screen. The typically confined nature of the source material can lead to a stage bound feel in the movie. That locked, static aesthetic is anathema to an art form that’s known, after all, as motion pictures. (Take a look at many movies made in the wake of noisy, bulky sound equipment being introduced to the process in the early 1930s if you don’t believe me. The worst of them look like filmed plays.) One of the best examples of a director and movie that thrillingly breaks free of the source material’s stage roots is Miloš Forman’s dazzling Amadeus. Chicago, too, adds a cinematic spectacle feel to its musical number sequences.
Joe Mantello’s adaptation of playwright Mart Crowley’s seminal LGBTQ melodrama The Boys in the Band only breaks free of the source material’s stagy feel in a few key sequences. Each time it happens is thrilling; it injects the wider world into the hermetically sealed one of the story. While the rest of the movie could have easily taken place on a stage, Boys has plenty more going for it to make it an electric experience.
