30 years on, ‘The Birdcage’ remains a landmark

In 1996, after the AIDS epidemic had shadowed the gay community for a decade and a half, a breakthrough finally came. The success of antiretroviral drugs has turned a deadly disease into a manageable and survivable condition. And suddenly, “Queer Joy” felt like a possibility again.

In 1996, “The Birdcage”, a remake of the French farce comedy “La Cage aux Folles”, was also released. The film tells the story of a same-sex couple who try to “play it straight” when their son brings his fiancée’s conservative parents over for dinner, starring Robin Williams and Nathan Lane in their first (non-animated) film roles as a married couple. The film is notable as one of the rare studio films of its time to feature a gay character, and the fact that it became a box office hit represents a welcome cultural shift after years of homophobic stigma fostered by Reagan-era “moral majority” conservatism.

Of course, these two landmarks were a coincidence, and clearly the importance of the first one (albeit a few months later) was much more monumental in the scheme of things. Nevertheless, there is something about the timing that marks a defining moment in the ongoing struggle for queer acceptance. It was a clear turn of events and a moment when we collectively were able to “unblock”. And 30 years later, in the midst of a whole new onslaught of conservative bigotry that threatens to erode the progress we’ve made, this is a moment worth celebrating, if for no other reason than to remind ourselves of what’s possible when we refuse to hide who we are.

That, after all, is the central conflict of The Birdcage, as well as the early French play (written by Jean Poiret) and film that inspired it, as well as the hit Broadway musical (La Cage aux Folles, adapted by queer writer Harvey Fierstein and queer composer Jerry Herman) in between. The story is set in the notoriously gay Miami neighborhood of South Beach and revolves around a popular queer nightclub owned by longtime partners. Armando (Williams), who runs a business, and Albert (Lane), a flamboyant drag performer known as “Stalina” who headlines a club as a result of an old one-night stand. Armando is the father of Val (Dan Futterman), whom the couple raise together and is engaged to Barbara (Calista Flockhart), the daughter of a prominent conservative senator (Gene Hackman). Fearing that the senator won’t approve of their marriage if he finds out about his parents’ true relationship, Val convinces Armando and Albert to temporarily “cleanse themselves” for a dinner party with potential future in-laws, but of course things don’t go as planned (it’s a farce after all), but in the end the gays “save the day” by helping the senator and his wife (Dianne Wiest) avoid scandal. After all, the kids are going to have a wedding.

Indeed, The Birdcage has long drawn criticism from within the community for serving up exaggerated stereotypes, particularly in its depiction of “femme” characters like Albert and Guatemalan housekeeper Agador (Hank Azaria), and more recently from young queer viewers who branded Val, who tries to pretend her parents are straight, the film’s “true villain.” There’s also the absurdity that the film’s two main gay characters (Williams and Azaria) are played by straight actors, and that neither the film’s writer nor director were queer themselves. We cannot dispute the validity of such positions, but we do suggest that they may be missing the point.

The director, Mike Nichols, was a comedian turned director known for both stage and film, and was responsible for Who’s Afraid of Virginia Woolf (among many other films)? The screenplay was by his former comedy partner Elaine May, known for her witty, sophisticated, and astute writing. Both have a pedigree that includes extensive collaboration with queer performers and creators, and a track record that clearly demonstrates their commitment to humanity and truth to the social structures they have repeatedly undermined with their insightful satire.

Known then and now for his manic, over-the-top cartoonishness, Williams plays Armando with complete sincerity, balancing his signature madness (like the classic “Fosse, Fosse” moment when conducting a club new play) with a deeply considered emotional solidity that never hits a wrong note. And Azaria’s performance, which quickly became an iconic fan favorite in the frivolous femboy camp, is beloved precisely because of its sheer self-consciousness in its repetition of clichés, and in this respect perhaps dozens of others. He’s still as beloved as his voice work on The Simpsons over the years — not because he’s ridiculous (though he really is, and comically so), but because he’s so recognizably authentic.

As for Lane, Albert’s character is clearly written as a “diva”, sort of the gay male “show queen” stereotype, but everyone is never offended because they know someone who fits that profile, or who is. At his core, he’s a man determined to live his life on his own terms, which makes his emergence as an eleventh-hour hero/heroine all the more satisfying. Let’s be honest, when life is down, none of us could ask for a better mother than he actually turns out to be.

Of course, the participation of the incomparable actors Hackman and Wiest is invaluable, giving even their dull characters enough grace to keep them from seeming complete clowns (although Hackman’s reprehensible senator comes close enough to be appropriate). As a bonus, the film also stars the delicious Christine Baranski as Val’s biological mother.

All of these performances, along with a spectacular explosion of Miami trappings in scenic design, a vibrant depiction of queer nightlife, and a soundtrack that includes both spicy nuggets of iconic club music and a few songs by gay genius Stephen Sondheim, are enough to make “The Birdcage” a classic, but the reason this song continues to resonate with queer joy emanates from the material itself.

Wrapped in all its absurdist humor, La Cage aux Folles (in all its forms) offers a simple story of everyone showing up for each other despite misunderstandings, hurt feelings, and all the mayhem that ensues throughout. This is a portrait of a family built on love, a portrait of a family that jumps over hurdles and puts the happiness of their loved ones above their own inconvenience. In the end, queerness doesn’t really matter. But the fact that it is queer families who embody these values ​​(and they are troubling values), as queer expression says, is everything.

Thirty years ago, “Birdcage” was a joyous extravaganza. At a time when it feels like queerness is once again being weaponized, this film is more than just that. It’s a great movie that reminds us that our greatest victories come from being unapologetically ourselves, and that unconditional love is all you need to start a family.