A Hint of Color
A Retrospective on The Birdcage and the Power of Joy
Albert: I'm just... a guy!
Armand: What about those?
(Gesturing to Albert's pink socks)
Albert: These? Well, one does want a hint of color.
Greetings, my dear rebels,
Congratulations on a making it to Friday, another week complete in this reality we find ourselves. Whether this is your first time here at the tea table or you are a now familiar friend, we welcome you to grab a chair and a cup and take a rest. Here in this space you are welcome and cherished. Here we turn to laughter and to hope when the world outside seems darkest.
This is the first full week since the completion of our Pride on the page series, and just like the first week back after a vacation, there is that disconcerting feeling of reality shifting back into focus. The recognition that while that march has taken us far, and we are proud—we have much further to go. I typically call it the after Pride blues.
While I always watch Pride favorites during Pride, there a few I save for after, that lift my spirit and speak to my soul. They keep the twinkle of a smile in my eyes and laughter in my heart. For today, our first Firebird Friday, instead of talking about a person, I decided to create an extra special treat and work with the incomparable
for a film retrospective on one of the pieces that keeps hope alive for me, The Birdcage, starring Hollywood legends Nathan Lane and Robin Williams.*Hundred Spoiler Alert* The ending will get revealed in this retrospective. If you wish to watch this 1996 film for the first time yourself without knowing the ending, skip down to the “TL;DR” section.
A Little History, a Lot of Glitter
Hundred: Back in 1973, playwright Jean Poiret took the world by storm with the release of an at the time controversial show that left producers at the time shaking in their boots: La Cage aux Folles. Prior to the release of the play which then received a movie adaptation in 1978, the idea of featuring gay people as the main characters while also featuring drag queens seemed nothing short of taboo. They worried that audiences would feel uncomfortable witnessing men kiss, prompting them to throw a tantrum, then rejecting the whole premise altogether.
Today, we see representation of LGBTQ+ individuals on the big screen on a semi-regular basis. Characters such as Damian from “Mean Girls”, Chiron from “Moonlight”, and the guys from “Brokeback Mountain” (I haven’t seen it yet don’t sue me), all come to mind at the outset. Yet at this time the predominant opinion among Europe and the United States was that homosexuality should be outlawed. Given these predominantly negative attitudes, executives behind the show could not help but wonder: what if “La Cage aux Folles” adds fuel to this hateful fire?
Despite these initial hesitations, in an intriguing turn of events, the play electrified the public, especially in the United States, receiving near universal praise. Despite the various stigmas facing the LGBTQ+ community at the time, “La Cage aux Folles” went on to become a Tony Award winning musical in 1983, spearheaded by the hit song “I Am What I Am”.
The musical went on to receive two Broadway revivals, but a question remained: Can an Americanized version of “La Cage aux Folles” exist on the big screen?
Enter the 1996 film “The Birdcage” starring the legendary Robin Williams, among other well-known Hollywood actors such as Calista Flockhart, Dan Futterman, and Gene Hackman. Does it do the play/musical justice? Or should they have kept it on the stage and off the screen?
Lady: It’s interesting to note that Jean didn’t just write the play, he starred as one of the original actors. Having seen the play, the musical, and having lived with this film as an annual after Pride tradition, it is impossible for me not to wonder how much of himself Jean put into the characters.
While ground breaking for the time, many have accused Folles of portraying only the nicest aspects of LGBTQ+ lives. Yet, when those portrayals are so rare how can that possibly be a bad thing? Those same critics who argue it only points out good things, also have no problems with the hundreds of fairytale movies creating those “unrealistic expectations” for their heterosexual children. So lets all simmer down and celebrate simple, wholesome joy.
Just One Dinner
In this Americanized twist on the French Classic , couple Val Goldman (Dan Futterman) and Barbara Keeley (Calista Flockhart) are a young couple preparing to introduce their families for their first time, as well as announcing their engagement. Its a comedy collision course as Val’s parents, Armand (Robin Williams) a gay South Beach drag club owner and the star of the nightly show Albert (Nathan Lane), meet uptight, conservative Senator, co-founder of the coalition for moral order Kein Keeley (Geene Hackman) and his wife (Diane Wiest).
At Val’s bequest to hide who they are and appease the senator, Armand and Albert try to play it straight, for just one dinner. I mean how hard can that really be right? Its just one dinner…Well as they say in every spaghetti western—Trouble ensued.
Lights, Camera, Birdcage
Hundred: When thinking about advancements within the LGBTQ+ universe, few pieces of content did more to humanize the community more than “La Cage aux Folles”. However, sometimes something seen as revolutionary at the time can wear out its welcome. For example, many tout Atari as a huge innovator that monumentally advanced technology, but how many people still use Atari consoles to this day?
Other times, great content can live with us forever, without issue. In a recent analysis of the Top Ten highest grossing films of the 2000s, it became abundantly clear that classics such as “The Dark Knight”, and “The Lord of the Rings: The Return of the King” possessed no plans to fade into oblivion from a quality perspective.
The world can pass us by, but does it do so for “The Birdcage”? More importantly, does this 1996 stand the test of time?
Part of the fun of taking trips down memory lane stems from the fact that you get reminded of certain talents. Two trains of thought can cross your mind in these instances:
“Oh yeah, I remember them!”
Or
“I didn’t realize this person was involved with this”
For me, when looking at the opening credits, aside from the star-studded cast, one name immediately jumped out: Emmaunel Lubezki, Director of Photography
Why this guy specifically? Well, because he three peated “Best Cinematography” at the Oscars, a feat rarely accomplished in the film community. He did so utilizing three extremely distinct styles in “Gravity”, “Birdman” and “The Revenant” respectively. In “The Birdcage”, his camera work nicely juxtaposes the conservative lifestyles of the family of the Republican Senator out of Ohio, along with the family living in the Miami nightclub. Both seem not only realistic, but also provide a variance that keeps you on your toes as a viewer. Both the costume and production design teams also deserve credit for highlighting the differences in the two ways of life, leading to unique transformations throughout.
I would have liked for one or two more distant steps back to be taken to truly admire the scenery of the Miami area, along with the club itself, but all in all, a distinct artistic style to this film exists that adds to the fun experience of watching this film. The opening shot on the water that showcases all the lights of the surrounding neighborhood (which represent the colors on the pride flag) pleasantly sets the tone for what’s to come.
Lady: For me, while the costuming is spot on, Lubezki’s work stands out as the star from a technical standpoint. The opening shots coming into Miami with the light and bustle of the city is one of my top five opening’s in a movie of all time and sets the scene for exactly the comedic action and tension to expect. It gives you the heat of the Miami night life with is neon colors and pastel tones in all its effervescent glory.
Lubezki throughout the film is able to capture moments in a way that make you feel even more deeply the mask the character is wearing at that time. The viewer is forced to ask:
Are they performing, or are they being their true self? How does the true self change based on what we are willing to sacrifice for others?
These are questions we can find begged throughout Lubezki’s work here from the stark angling seen in the dinner scenes, to the moments of close connection, the park bench or together at breakfast between Albert and Armand. Luzbeki is able to communicate visually what mask the character is wearing in the moment adding visual depth as well as psychological poignancy and impact to the work.
Serving Face, Feeling, and Full Fantasia
Hundred:The aesthetics appeal, but what about the acting? Many remember Robin Williams for his comedic chops (and for valid reasons), though he turns in an extremely solid all-around performance in “The Birdcage”. He acts in no-nonsense fashion the brunt of the time, much like a business owner would, but you can also sense his love for his son, and his husband in subtle manners that help bring everything home.
Robin Williams delivers, but without a doubt, Nathan Lane as Albert Goldman (Robin William’s character’s husband and star performer at the club) steals the show. His portrayal of a “larger than life” flamboyant performer requires emotional range that if not done properly, can come across as incredibly cheesy. The singing at The Birdcage draws you in, though the behind the scenes, where he behaves like a needy, nervous wreck, injects some depth to his persona. In the end scene where he dresses up as a woman to trick the fiancé’s family, he brings out a charm that cannot help but steal the spotlight in those tense moments (which I will discuss in a little bit).
As an actor, Lane walks this fine line of someone who can garner sympathy, whilst driving you a touch nuts in the process. I enjoy almost every scene he finds himself in, though the part where he learns how to behave more manly so he can fit in with their son’s fiancé’s family bring out serious chemistry between both him and Robin Williams, helping you understand their dynamic better.
Lady: I one hundred percent agree with this. I deeply love and respect Robin’s body of work and I do think this is some good work on his part. Take for example his small monologue in rehearsal. That is classic Robin. His coaching at breakfast on how to be more “manly” is a standing inside joke at my house. During particularly stressful family dinners my partner or I have been known emphatically tell the other to Smear! Smear! resulting in giggles from both and an answering Tawanda! (a story for another movie critique). Yet Nathan Lanes performance and the range he encompasses in this for me is the real magic in this work.
The complicated star, feeling all of his feelings without it devolving into cheese, but real deeply felt emotion. Nathan is known for playing these somewhat larger than life, flamboyant characters, yet in that moment when he is sitting on the bed in his suit wearing pink socks, the line “one wants for just a hint of color,” the longing wistful note he puts in that single line, it always gives me chills.
For me in that moment you see straight to the heart of the character, Albert, just trying to live a life in color and feeling so out of place. Its heart breaking, and its so real and so lived, delivered with just the right tone, raised in questioning hope. In hearing it I can’t help but hear Nathan’s own past experience, and struggle to maintain hope throughout in his own defiant way.
Under the Makeup: What This Film Really Shows Us
Hundred:“The Birdcage” thrives in its ability to build tension. Everything gradually leads into this final scene where the two families from polar opposite walks of life meet up for the first time, with the Goldmans attempting to woo the conservative Senator and his wife by fundamentally changing the way they behave. When they finally encounter one another, you cannot help but feel like you’re sitting on pins and needles witnessing the various levels of dramatic irony unfold in front of your eyes.
Each crew contains their own unique set of motives: The Senator, facing a scandal stemming from his colleague’s unruly behavior that undermines their push for “family values”, wants a pristine white wedding for his daughter to distract from those issues. The Goldmans on the other hand, see the happiness in their son getting married, and want him to live the best life he can possibly live, so they scheme up ways they can impress the in-laws. On top of that, they’re performers, which adds a layer of fun to all the preparation in advance. All these elements make the whole scheme incredibly easy for viewers to develop emotional investment in as everything eventually comes to fruition.
Obviously, the son’s family reveals that they’re not the typical conservative family the Senator and his wife originally think they are, which unveils the importance of staying true to yourself, an obvious theme that still resonates today. However, I want to point out another observation “The Birdcage” sheds light upon that I find rather poignant, which pertains to the fluidity of human nature, especially in the realms of politics, and entertainment.
The moment the Republican Senator realizes reporters followed them to the Goldman’s house, he worries about getting tarred and feathered, fearing that meeting with two gay men at a nightclub in Miami could seem like a “bad look”. Yet, to escape, he without objection dresses up in drag so as to not be spotted, something that he would otherwise frown upon in any other instance. Once this action became convenient for him as a politician, he did what he deemed necessary in the moment, regardless of his purported values from the past. We see these types of actions all the time in today’s political realm, making it incredibly fascinating to watch unfold in “The Birdcage”.
This fluidity also applies to the Goldman’s. As mentioned earlier, they took on this challenge to temporarily change their way of life with initial hesitation, but eventual gusto, not only because it was convenient for their son so they could “fit in” with the fiancé’s family. With that said, they accepted it as a challenge only entertainers could properly pull off, making it something in a weird way they could not help but enjoy to a certain extent.
Both end up making sacrifices for various reasons, though what we see is that nothing is truly as black and white as the world makes things out to be. Sometimes, people will make a compromise and dress in drag if it means escaping a perceived sticky situation, and other times, we will act in ways to make family members happy and/or take on challenges that veer us out of our comfort zones. Someone once made a joke that politics is just “show business for nerds”. Given some of the parallels you see with the two families in their fears of “bad looks” to societal factors outside of their control, you cannot help but wonder if more truth than not exists to that joke my friend gave me. Both groups find themselves adapting to the circumstances they face, trying to fit into certain boxes in hopes of acceptance. People do this all the time in today’s day and age, only to realize it’s so much more fulfilling to stay true to one’s true personality. We see growth in both the Goldman’s, and the conservative family to an extent.
What I love about this subliminal message from the film is that one of the more under appreciated aspects of the LGBTQ+ community lies in its fluid spectrum. Identities, attractions, and expressions within the umbrella are not fixed or binary, but rather can vary and change over time. Individuals may experience shifts in their sexual orientation, gender identity, or gender expression, and the LGBTQ+ spectrum provides a framework for understanding this diversity and fluidity. In a way, “The Birdcage” does the same as you see the fluidity of the families emerge.
Lady: For me, as with most things, I love to look at multiple layers. The Birdcage is one of those films that for me simply gets better the more you learn about it. While this story was based on the work by Jean Poiret, this film debuted late in the AIDS crisis era circa 1996. At a time when when we were still reeling from and grappling with the effects of the AIDS crisis in America, Nathan Lane and Robins Williams take your hand and walked with you into joy.
Where as depictions of homosexuality from the previous decade were largely somber, tragic, stories this was a comical story that wasn’t just funny, but that made you laugh with the LGBTQ+ characters and not at them. This film empowers Albert and Armand making them the driving focus not only of change but of laughter. Laughter is always shared, and always in their hands, used as tool or in expressing their own joy. They never become the punchline of the joke.
Its not that the movie shy’s away from tough ideas, take for example Albert’s continued pleas to be seen as more than a boyfriend, the palimony agreement that would make half the club his if something were to happen takes a far more serious tone when we bear in mind the very real very fresh experiences of gay couples who were facing these same kind of decisions in their own lives, or facing the consequences of having died before ever getting to that important paperwork. Yet it paints an idealized picture, a modern fairy tale of a successful American queer family who has made it. Maybe it looks a little different from your own, but its full of love, laughter and life that should be shared and celebrated for that difference—not hidden and molded into conformity for others comfort.
What it does with laughter and celebration is dream of an existence for the LGBTQ+ community post crisis, one that exists entirely independent of and without being defined by the tragedy they had witnessed. That they had survived.
It remains so important in understanding where we should be headed even today as through the eyes of Albert(Nathan Lane) and Armand (Robin Williams) we see that what is farcical, is the attempt by the Senator (Gene Hackman) to maintain his rigidity. Through their eyes we see that what man still treats as an oddity, outside of society, is in fact a part of the fabric that gives it its color. Look no further than the flamboyance Nathan brings to his outings around town, and the peoples reactions. Just as with the magical realistic works of Miyazaki, they treat the magical experience of queer culture and community not as outside the community but as an integral part of the whole.
TL:DR
Hundred: For anyone wanting something charmingly comedic to tide themselves over until the next pride month, “The Birdcage” delivers on a variety of fronts. Its legacy stemming from “La Cage aux Folles” from back in the 70s and 80s still lives on, easily standing the test of time from a storytelling perspective.
“The Birdcage” offers a comedic thrill ride backed by dynamic acting performances that offers a deceptively poignant commentary on the fluidity of human nature.
From One Family to Another
With that, my fierce defenders, we have come to the end of this Firebird Friday special, a post-Pride spirit lift for anyone who might be feeling a bit down, written by myself and the incomparable
. I hope you have enjoyed this retrospective on one of my personal favorites and a movie that I watch following Pride every year. If you want to watch it yourself and you don’t want to watch on Prime ( I understand) Barnes and Noble has the DVD available online. Purchase it, send some royalties to Nathan and you have it delivered straight to the door as well as supporting a company that does still have a DEI stance and fights for the voices of marginalized authors.As always I will be spending the weekend with my partner so I will be on here sporadically. You will probably see me catch up on comments some and I always stop in Saturday if only briefly to see what is happening on
’s art chat.Never fear however, we will be back Monday with our next piece. The current budget lays the groundwork for the continued attack against education. Monday we will be looking in closer detail at the education related specifics of this bill and what that means for student debt and borrowers. We will talk specifics on how this will impact students and what we can to do to fight together to minimize the damage and how we can hold those who passed this accountable.
As always keep sipping courage and speaking truth this weekend. Take rest and restoration wherever your soul finds it, and never let anyone take your hint of color.
Until our next bold move,
~Lady LiberTea ✨🫖
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This was fascinating. Years ago I read that, to an extent, humans are always performing. We have different standards of behavior that we conform to at the grocery store vs a nightclub, to have a really obvious difference.
Thank you so much for the thoughtful review. I will never look at pink socks the same way (but I might have to go buy some). ❤️
My heart. The Birdcage is my go-to movie when I'm feeling sad. I love that film so damn much. If I could only have one to watch, it would be The Birdcage. Everything about it is exquisite - you touched on ALL OF IT. Thank you so much for this piece. I am definitely watching it this weekend.