The Birdcage was a movie I loved when it first came out back in 1996. Despite it's F-bombs and sexual humor it was something a family favorite in my house and a VHS staple. But it's also one of those movies I feared might have aged so horribly I couldn't enjoy it anymore.
After revisiting it yesterday I am pleased to say that it sort, mostly holds up.
There are the glaring things. Hank Azaria is both hilariously funny and deeply problematic in his over the top performance as Robin Williams and Nathan Lane's "houseboy" from Guatelmala. I only saw the original film on which its based (La Cage Aux Folles) once and if memory serves, Azaria's comic role is actually an improvement in terms of racism on its predecessor.
And the son character -- who cruelly forces his father and his lover to masquerade as straight to please his potential in-laws (played to perfection by a very game Gene Hackman and Dianne Weist) -- is abominable. It doesn't help that the character doesn't have much of a personality and largely acts like a jerk -- the entire conceit of what he is doing is wrong, homophobic and detestable.
Some have argued then and now that the entirety of this exercise is inherently antigay -- and those critics may have a point -- although Mike Nichols' film does take great pains to really flesh out Lane and Williams' characters so they are not just caricatures.
I also appreciate that both of their characters are given the space to pushback on their son's request that the sublimate their identities, although I don't buy that they wouldn't be more furious with him for suggesting it. But it was 1996.
The ending is probably the weakest link -- despite the delightful image of Gene Hackman in drag. When Lane is revealed to be impersonating a woman and the gig is up, Hackman's conservative politician doesn't comfort or come to grips with his prejudice or his anger at being had, we simply see the insanely young couple (Williams and Lane's son is supposed to be 20 but looks 35 and his fiancee, played by a fresh faced Calista Flockhart is supposed to be 18!) attending a big wedding ceremony, with the more colorful crowd there on the groom's side.
Whatever reconciliation or reckoning that takes place been Hackman/Weist (who are portrayed as insensitive homophobes) it happens fully off-screen and it feels like more than a cheat. It's almost like a surrender to the narrative corner to story has painted them in.
Still, it's definitely a fascinating rewatch all these years later, since its a time capsule of what passed for a risky, progressive comedy at the time -- but today seems very quaint.
I found myself frequently comparing to Father of the Bride, which has a similar farcical meets sentimental family movie tone, albeit in a much more traditional context.
It's also strikingly sad -- watching Robin Williams show how talented he was by -- forgive the pun -- mostly playing the straight man here. His output in the late 90s was inconsistent at best -- remember Patch Adams? -- but he was an incredible actor when he was engaged with good material and a great director.
Because of the tragic circumstances of his death, there is a bit of a halo of sadness that hangs over all his work but there is also joy -- as he was for a time one of the funniest men who ever lived and he wore that mantle with grace and charm.
As for The Birdcage, I am glad I watched it again -- it gave me quite a few belly laughs even if the premise is both absurd and deeply problematic. I can see how some see it as an attempt by mainstream Hollywood to make a more palatable gay film for a less sophisticated audience but I think it's heart is in the right place.
And, as I said earlier, much of the humor -- remarkably -- still holds up.
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