Word: crowleys
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...first thing one notices about Mart Crowley, the man who wrote the very funny and very sad play about homosexuality called The Boys in the Band, is his uncanny resemblance in appearance and manner to Woody Allen. Like Allen, Crowley is small, boyish (age: 34), and balding. His speech comes fast and sharp. He cocks his head slightly after he has told a joke, in anticipation of the listener's laugh. And, like Allen, Crowley wears glasses. However, the glasses are not horn-rimmed, but wire-rimmed, like Peter Fonda...
...weeks ago today, Crowley spent the afternoon in Boston to talk about the film version of Boys, which he both adapted for the screen and produced. It was a week before the film was to have its world premiere in New York and Crowley gave the impression that he was running a little scared. As we walked with the film's press agent into a large Cadillac limousine waiting outside the MGM Screening Room in downtown Boston, he was silent. It wasn't until we were seated in the living room of his enormous Ritz-Carlton suite and room service...
...Crowley took off the jacket of his expensive-looking, continental three piece suit and leaned back on the couch. He talked about the great increase in overtly-homosexual theatre in New York since Boys opened off Broadway (where it is still running) in 1968. "These plays come along," he said, "and homosexuals rush and descend on them-just like taste-makers anywhere else. But that audience runs out, and after two weeks these shows have to be playing to Mr. and Mrs. America...
...transition from stage to screen-and often gains a great deal. Director William Freidkin ( The Night They Reided Minsky's and The Birthday Party ) has wisely chosen to "open up" the play very little. What scenes there are outside of Michael's claustrophobic east Sixties apartment work well with Crowley's conception. And Friedkin's superb eye for seine detail and character groupings greatly augment the power of the screenplay...
...play, despite the fact that the script remains virtually unchanged. On stage, the center of attention throughout was Michael, and since he is the least happy and most destructive of the group, he set the tone of evening. As a result, homosexual critics (and the Mattachine society) jumped on Crowley for playing up the self-hating homosexual at the expense of the happy, well-adjusted one. In the movie, the camera works to enlarge our vision, forcing us to pay almost as much attention to the other, happier characters as we do to Michael. The sanity of Larry and Hank...