Andrew Beckett is an exceptional lawyer who feared, that his homosexuality, as well as his affliction with HIV, would compromise his career at a law firm, therefore keeping it a secret. However, when his private life is exposed, he is unceremoniously fired, under the pretense of professional incompetence. Determined to sue for the discrimination he approaches the equally gifted lawyer Joe Miller, who is at first reluctant to take the case due to his own homophobia. Eventually having to confront his own prejudices, Joe finally agrees to help Andrew takes the case and face down his former employers in court.

One of the more contentious and progressive movies to come out of the 1990s, the impetus behind Philadelphia being the true life events of attorneys Geoffrey Bowers and Clarence Cain. Bowers was an attorney who, in 1987, sued the law firm Baker McKenzie for wrongful dismissal in what was one of the first AIDS discrimination cases. Although it's arguably no coincidence, that Demme's previous 1991 Oscar-winning thriller, The Silence of the Lambs had received criticism (and erroneously in my opinion might I add) from LGBT organizations like Queer Nation and ACT-UP, because of the depiction of fictional serial killer, Buffalo Bill as being transgender. Although Demme denied the backlash as in any way influencing his decision to make the movie.

Whether it did or didn't, I'm willing to have given Demme, the benefit of the doubt that with The Silence of the Lambs, there was never any ill intention involved. And with Philadephia, he attempted to confront the issue of homophobia, as well as the ignorance and prejudices surrounding HIV that had reared its ugly head in the 1980s. Casting Tom Hanks as the conscientious hotshot lawyer, and surrounding him with a largely able cast. I say largely able, as I have to confess as never been a fan of Denzel Washington, who for all his undoubted charisma and presence, is an actor of scant range. With Philadelphia, he does acquit himself fairly well, although it's not a million miles from the strong, confident roles we've seen him play a million times before. But this is the least of some of the issues there are with the problematic structure of it.

Demme in the past has proved himself capable of being more measured in his work, although, here he doesn't skimp on showiness. Particularly with the courtroom theatrics, as both Washington and Mary Steenburgen as his litigating opponent go at it tooth and nail. While Hanks Beckett is surrounded by an all too good-to-be-true, supportive homespun family circle. He's not above some moments of cheap manipulation, not least of all when surprise surprise, Steenburgen's provocative litigator appears to actually have a conscience. Who would have ever thought that possible?

When Demme isn't attempting to push all the right buttons in a controlled, methodical manner, he does occasionally strike the right chord. Miller's transition from a homophobic man, who is forced to reevaluate his prejudices is seamlessly handled, particularly as a black man who both personally and professionally has faced bigotry himself. While there are some perceptible and palpable moments, with Hanks who is truly committed to his art, dropping pounds in weight, as a deteriorating Beckett is pulled apart on the witness stand. Or reiterating the latent homophobia, that he has had to endure while uncomfortably remaining silent. Not least of all from ex-employer, and law firm partner, Charles Wheeler, with Robards epitomizing the essence of masculine toxicity.

Hanks reliably rises to the occasion proving deserving of the Oscar nod he received, is however not at his pinnacle here, having delivered better. Therefore undeserving of his win as Best Actor, which Nigel Hawthorne was robbed of for his sublimely unbalanced turn in, The Madness of King George.

For all its narrative shortcomings, Demme delivers an indictment of intolerance where his heart was in the right place, even if doesn't always hit the mark as often as he could have. Philadelphia feels like a footnote in movie history rather than the more masterful indictment of societal bigotry in the U. S. in the 1990s that it attempts to be.