"Indeed, we might say that the whole purpose of existence is to reconcile the glowing opinion we have of ourselves with the terrible things other people say about us." - Quentin Crisp

This film is more than just an Americanized "The Adventures of Priscilla: Queen of the Dessert;" This film is a celebration of individuality that hits all the right chords. While the former Australian import had much working in it's favor, it also pushed the boundaries to the brink of acceptability for non-straights. After all, the film has a drag queen becoming a big influence in his very young, presumably straight - or at least a-sexual, son's life. While "To Wong Foo" does have ground-breaking moments, it doesn't go anywhere near as far. Yet, the film is an inspirational masterpiece. It seems to co-opt RuPaul's maxim (he has a small cameo!) that every day should be a stylish party; that everyone should be themselves. The three drag queens here are the real deal. They are men's men. They are unquestionable gay. And they become full-fledged role models for a sleepy little jerk water town. The recreate the drab little dust- bowl and turn it into a fierce, stylish, colorful festival. At the end of the film, the townspeople are better for having known them. They are recreated. They are fierce and fearless. They are all not afraid. They are proud to call themselves drag queens - in it's true spirit. They become true individuals and true Americans.

Director Beeban Kidron has no trouble bringing this to the screen. Working with Douglas Carter Beane's wonderful script, Kidron splashes the film with color and snaps her fingers in all the right places. I guess it should be no surprise that a female directed this film. Since Ed Wood is long gone, we don't really have any open transvestite directors. There are few who are openly gay either (the two not being synonymous). A woman's touch is just what this film needs. "To Wong Foo" goes far to be accepting and understanding. It not only allows us to like and accept drag queens, who are, in this case gay, but it also is accepting of women, of interracial relationships and of the elderly. Kidron has the sensibilities and the sensitivity to make all of this work. She gently steers the film into the calmest port. One wonders if many men could do the same.

But make no mistake, Kidron and Beane are not afraid to show us some negativity as well. All is not perfect in this little film. We get an abusive husband, an abandoned octogenarian and a homophobic law enforcement official. The film doesn't really make these characters buffoonish, although the sheriff is a bit overly broad. Christopher Penn plays the role wisely by letting his anger and hate elevate slowly to a boiling point. At first he is just amusing but by the end of the film, he is outraged and abusive. But, in the true spirit of the film, in the end, the wrong doers are exposed and rebuked. But it is done gracefully, elegantly and humorously. When a on-target joke is made about the Founding Fathers close to the film's end, we realize just how smart the script has been. And, in another example of the film's American ideal, the end becomes a Western style showdown, an homage to a true American ideal. The bad guys are wrong, and therefore ostracized, when the town (society) comes together to turn them away and discard their beliefs, their hatred.

Helping Kidron make his film work is a plethora of talented thespians. The actors involved, whether playing drag queens or straights, are phenomenal. Surely, the biggest draw is Wesley Snipes and Patrick Swayze. The two action/adventure actors are cast way against type as the principle drag queens. John Leguizamo, at least, had a prior history of doing drag humorously on cable and on his own Fox TV show(the short lived "House of Buggin'"). Here, the three are surprisingly great in drag. In fact, Leguizamo is probably the least successful. While Snipes always seems like a man in drag and Leguizamo never pretties himself up enough (he looks atrocious in a baby doll nighty), Swayze always looks flawless. It's amazing. You simply come to forget that it's Swayze you are watching. More than that, he is moving. We like his character. He has the most to gain and he rightly gets it all. Snipes has less motivation but he does do well with what he is given. Meanwhile, the actors playing the townspeople all have a fantastic time playing off the colorful principles. Stockard Channing finally becomes a true movie star by playing an abused wife. She is great. Sure, she is one of America's finest actresses but here she gets to prove it by not playing a dyke or an intellect. Her scenes with Swayze and antagonist Arliss Howard are riveting and believable. Meanwhile, Blythe Danner has a nice side story that works well because she has no trouble making it honest and real. The nameless bit actors that work in the film, some of whom have very recognizable faces, all get into the spirit of the film and have a fun time bringing us the story.

There is one boundary pushing element here and that is a relationship that flowers between Chi Chi (Leguizamo) and a young handsome man in the town. Jason London is adorable. Rosy cheeked and wide eyed, he makes his crush on Leguizamo romantic and beautiful. When the drag queen finally denies him, we are spared the painful proceeding. We are only allowed to see the touching aftermath. The film works overtime here to bring us a story that is open and honest. Leguizamo's Chi Chi wants London's Bobby Ray desperately. It is that true love that all of us dream of. But it has a flaw. Of course, Bobby Ray doesn't know the truth about Leguizamo. He is simply too young, naive and bucolic to ever think of such a thing. But his love for Chi Chi is real and the script, mouthed breath-takingly by London, makes it true and beautiful. It is sad when the two can't connect more than they do. Some may feel cheated because we don't see their breaking away or because they do not deny convention and come together, but I think the former would be too brutal and too heart-breaking. I don't want to have to see it. The later would, actually, be a contrived cop out.

On a lighter note, several actors do small roles or cameos to help the film as well. RuPaul, whose life has lain the groundwork for this film, gets a very flattering small role. Robin Williams has an uncredited small bit that is highly amusing. Quentin Crisp's facade is flashed briefly on screen. And Julie Newmar shows up at the film's end to wrap up the proceedings nicely.

I was working for a movie theater when "To Wong Foo" was released and it's success surprised me. It may have been the draw of the principles that brought people in droves to the film, but none of them seemed surprised or offended by the message of the film. I worked at a theater in a blue collar Texas town. The ethnically mixed populous made up of primarily refinery workers and the like really seemed to like the film. More importantly, because the film was rated PG-13, they brought their children! Several young people came to see the film. I never heard one negative comment from anyone exiting the film. Most left with smiles. This film worked. It's message was acceptance in the spirit in which it was intended, with friendship and love.

"To Wong Foo" may be the best gay American movie ever made. Not because it's a cinematic masterpiece, not because the acting is Academy Award level, not even because it pulled no punches in bringing us true and realistic characters. No, "To Wong Foo" is a great movie because it was accepted by mainstream America, and in it's efforts to accomplish this, it never once shamed anyone.

Note: Music by Rachael Portman. Choreography by Kenny Ortega ("Salsa"). Director of Photography is Steve Mason.

Review written in 1995

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