Ninety-nine to one: self-identification

Sophia 2022-10-11 14:37:51

All being mean to others is self-loathing, and a subconscious rejection of this disgust to gain a seeming inner peace and self-esteem.

There are nine characters and nine personalities, but none of them can get around a common motif: the self-identification of comrades. Different personalities are just different manifestations of the same problem.

Although the development of the plot seems to be a bit abrupt (for example, I can't understand how Michael went crazy), but the overall portrayal of the characters is very three-dimensional. All characters can be roughly divided into three groups. The first group of Hank, Donald, Larry, self-esteem and self-confidence, calmly accept themselves, wise and peaceful, the difference between the three of them lies in their different attitudes towards emotion and sex, Hank and Larry are two extremes, one pursues exclusive loyalty, the other enjoys The pleasure of having sex with different people, even if the two have conflicts, they can find a solution wisely; and Donald seems to be in the middle, not excluding bath's love at first sight for Larry, but he can also keep his affectionate heart.

The second group, Cowboy, Emory, Bernard, are all at the fringe and bottom of the gay family, a country boy who doesn't understand anything and doesn't know his ignorance; an extremely feminine drama queen who is very sensitive You have to earn a bit of money, but you still have no self-respect; even though you are an intellectual, you are helpless to be a black man, and endure exclusion in silence.

The third group, Allan, Michael, and Harold, are all subconsciously contradictory people who deeply disagree with themselves, and they are also the ones that Drama has produced the most. Allan is more controversial, and the play also clearly stated that it did not tell us why Allan cried to Michael in the first place. One interpretation is that he was in the closet, and another interpretation was that the straight man and his wife were not feeling well; I thought it should be in the closet, or else Why did he hesitate to look for Michael back and forth, and Michael also saw at a glance that he didn't want to leave the party, and the scene of calling his wife was basically the most instinctive cover up of a fake straight man in the closet under huge pressure, maybe Michael didn't do it. If you suppress Allan, you will come out of the closet; Allan's disapproval of himself has reached the point where he can't even speak the language and words, he can only wander in the subconscious mind of his brain, and even his id consciousness is suppressed and cannot be formed. Michael has reached reconciliation with himself in terms of behavior and appearance, but subconsciously still feels inferior and needs to win the respect of others; so he was always cautious when Allan wanted to come (in other words, he always thought that Michael had a crush on Allan. , but at the end, it was not clear whether it was a crush on Allan or an inferiority complex), so I kept complaining and sarcastic, and kept buying, buying, buying and changing clothes, until the hysterical and meanness broke out at the end, as if to treat everyone and myself. It is very clear that it is actually a lack of self-confidence in himself. As for Harold, he feels that he has reached a strange state of being able to get along with self-loathing. Like Michael, he has reached a reconciliation with himself externally. Unlike Michael, he can calmly accept his inner inferiority and self-loathing, and be content with himself. Le, the first act of the opening scene is full of skin care products on the sink and soap-soaked feet sticking out of the bathtub is Harold; it seems like a steel wall, anyone can jokingly resist any attitude towards him, but how can that be? It is not a protective net woven by oneself. Although it can protect oneself from harm, it is difficult to truly communicate with others, share feelings, and truly love oneself and others.

Still want to mention Allan's face, Cowboy's youthful body (you can search for his nude photos, he is really talented), as well as Donald's clothes and wisdom! And Michael's house, the large living room with raised shelves comes with a rooftop patio, perfect for a party!

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Extended Reading

The Boys in the Band quotes

  • Cowboy: [about long distance calls] I'm glad I don't have to pay the bill!

    Michael: Quiet!

    Harold: Oh, don't worry, Michael won't pay it either.

  • Michael: Oh Harold, he's beautiful.

    Harold: Yeah, beautiful. He has unnatural, natural beauty. Not that that means anything.

    Michael: It doesn't mean everything.

    Harold: Keep telling yourself that, as your hair drops out in handfuls.

    Michael: Faggots are worse than women about their age. They think their lives are over at thirty. Physical beauty is not all that goddamn important.

    Harold: Course not. How could it be? It's only in the eye of the beholder.

    Michael: And it's only skin deep.

    Harold: Only skin deep. It's transitory, too. It's terribly transitory. Oh yes. It's too bad about this poor boy's face. It's tragic. He's absolutely cursed. How could his beauty ever compare with my soul? And although I've never seen my soul, I understand from my mother's Rabbi that it's a knock-out. I, however, cannot seem to locate it for a gander. And if I could, I'd sell it in a flash, for some skin-deep, transitory, meaningless beauty.