A notable film on several levels. First, it was way ahead of America in being a relatively mainstream film that treated gay men as people of depth, value, humor and worth making a film about. (Although there is sad irony in the fact this huge hit play took so long to make it to the screen that AIDS had already totally altered the landscape by the time of its release. That's something the film only notes in the closing credits, and gives it a bit of a 'rose colored glasses' hue).

But beyond any politics or social significance this is also a very well acted, funny and moving look at one man, Arnold, (played by the unique and charismatic Harvey Firestein, who wrote the play and screenplay) as he looks for love – both romantic and familial in a sometimes very cold world. If Firestein's performance can occasionally feel theatrical, it's also entirely appropriate for the starting-to-age drag queen performer he plays. What's wonderful is how Firestein always keeps the humanity under Arnold's occasional flamboyance very alive, as does Anne Bancroft as his 'difficult' mother. Later in her career Bancroft could tend towards theatricality on screen as well, but she tones it down just enough to feel real here, and anyway, lets face it, next to a drag queen, who is more innately dramatic than a Jewish mother? (I grew up with one, trust me).

Matthew Broderick and Brian Kerwin also do very good work in support, Broderick as a sexy but understated young man totally at ease with his sexuality, and Kerwin as a confused bi- sexual trying to work out his. While never rising to the level of a great film (the direction is very straightforward and bland, there's almost a TV movie look to it, it never completely surpasses it's theatrical origins),it's certainly a good, touching, human, and important one – although to a generation growing up with the reality of gay marriage and deeper integration of gay people into society, some of the historical importance may be lost. But not the essential, timeless embrace of kindness, love, respect and understanding

The movie exhibits the same careful story telling as the play, which should come as no surprise, considering that Harvey Fierstein wrote the screenplay. It is an uncompromisingly honest - and occasionally brutal - portrait of a New York drag queen. And it is told as only Harvey Fierstein can tell it.

Our first introduction to Arnold Beckoff (Benji Schulman in this scene) is his mother finding him in her closet at age six, wearing her clothes and make-up. This sets the tone for their relationship throughout the movie, as Arnold (Harvey Fierstein) and his mother (Anne Bancroft) have a wonderfully portrayed love-hate relationship throughout the film. The movie follows a grown-up Arnold through the major relationships in his life: Ed (Brian Kerwin),a closeted school teacher who leaves Arnold to marry a woman; Alan (Matthew Broderick, graduating from the role of David in the stage play),a model who loves Arnold as much as Arnold loves him, but who is murdered by bat-wielding thugs; David (Eddie Castrodad),the son Arnold adopts following Alan's death; and ultimately Arnold's mother, with whom he attempts to have an honest relationship despite her openly disapproval of him. Things come to a head with his mother during a visit to the cemetery where she cruelly berates Arnold for praying over Alan's grave, telling him that he has no right to compare his "playing around with a little boy," to her "thirty-five year marriage." Arnold's response to her ultimately becomes the catalyst through which they work out their differences.

Fierstein's desire for integrity in his story is apparent throughout the movie. The script neither shies away from, nor pretties up difficult issues. The characters are fully developed, and each acts from an internal logic that is readily understandable to the viewer, whether or not we agree with their choices. The humor doesn't take away from the seriousness of the themes covered, but rather serves as a contrast to highlight them.

The acting is exemplary. Fierstein is brilliant as Arnold, but then, he had plenty of practice. Anne Bancroft gives an edgy performance as a mother who wants to love her son, but has trouble accepting him for what he is. In spite of her unforgivable cruelty to her son in the graveyard, you do forgive her when she tells Arnold, "You shut me out of your life and then blamed me for not being there!" She then goes on to share her own wisdom on loss with him, healing the breach for once and all. Matthew Broderick gives a wonderful performance in a part with little screen time, but huge impact. His portrayal of Alan's love for Arnold is real, and as satisfying a romance as one could want to see on the big screen. Brian Kerwin plays Ed's confusion to perfection.

This movie was among the first to offer up gay characters who are honest and unashamed about their sexuality. That alone would make it a must see, but this movie is also highly entertaining, sparkling with humor, wit, and unforgettable drag scenes. A movie that should be watched every so often to remind us that, no matter what clothes you wear, all of us are the same underneath.

Back when "Torch Song Trilogy" came out in 1988, acceptance of gay folks was far different than today...so much so that I am shocked the film was made in the first place. However, just because a lot of straight folks didn't go see the film when it was in the theaters does not mean you can't give the film a try now.

The film is based on Harvey Fierstein's one act plays...with three of them strung together to help create a portrait of many of the issues gay men have to deal with day to day. Among the many interesting issues in the film are his dealing with a bi-sexual lover who hasn't really come to terms with his attraction to other men, the loss of his lover and life partner due to a hate crime as well as his god-awful mother. This final issue creates the best moments for me and it was mostly later in the film. His mother claims to love and accept him but she is also full of snide comments, put-downs and hate...and hearing Arnold (Harvey Fierstein) finally exploding at her was magnificent. You can't help but be affected by these brutally honest scenes with the mother (Anne Bancroft)...and it is universal.

Overall, a very engaging and moving film...one of the better ones of the era...and a film, sadly, probably not seen by many straight viewers.