Frank Oz made a movie about a guy who likes disco and poetry. That doesn't sound like a revolutionary act, but in the late nineties, it kinda was. In & Out 1997 didn't just stumble into the box office; it crashed the party by taking a very real, very awkward Hollywood moment and turning it into a farce that actually had something to say.
You remember Tom Hanks winning the Oscar for Philadelphia? Most people do. He thanked his drama teacher, calling him a "great gay American." That's the seed. Screenwriter Paul Rudnick saw that and wondered: what if that teacher hadn't actually come out yet? What if he was living in a small town, about to get married, and suddenly millions of people were watching his private life get "outed" on national television?
The Kevin Kline Magic and That Dance Scene
Howard Brackett is a guy who loves his life in Greenleaf, Indiana. He's an English teacher. He’s engaged to Joan Cusack—who, honestly, gives one of the most frantic and brilliant performances of her career here. But then Cameron Drake (Matt Dillon) wins an Academy Award and tells the world Howard is gay.
Kevin Kline is a physical comedy genius. People forget that. The way he moves in this movie, trying to prove his "manliness," is peak cinema. There’s this one scene. You know the one. He’s listening to a "How to Be Masculine" audio tape. The voice tells him not to dance. It tells him to be stiff. And then, "I Will Survive" starts playing.
He fights it. He really does. But then his hips start moving. It’s a 30-second masterclass in internal conflict played for laughs.
Why the Small Town Setting Actually Worked
Usually, movies from this era treated small towns like terrifying hives of bigotry or magical places where everyone is nice. Greenleaf is sort of neither and both. The townspeople aren't necessarily villains; they're just confused. They like Howard. He’s the guy who teaches their kids Shakespeare.
The conflict isn't about a lynch mob. It's about the suffocating pressure of "normalcy." When the media descends on the town, led by Tom Selleck’s character, Peter Howell, the circus begins. Selleck is actually great here. He plays a reporter who is also gay but is "out" in a way that Howard can't even fathom. It’s a contrast that shows the divide between the polished media world and the messy reality of middle America.
Joan Cusack and the Wedding Dress Meltdown
If there is a patron saint of "In & Out 1997," it is Joan Cusack. She plays Debbie, Howard's long-suffering fiancée who has been on a diet for years just to fit into her wedding dress.
"Is everybody GAY?!"
She screams it in the middle of the street, wearing that massive white dress. It’s funny because it’s loud, sure. But it’s also heartbreaking. She’s the collateral damage of Howard’s closet. The film doesn't just hand-wave her feelings away. She’s rightfully pissed off. Rudnick’s script manages to give her a voice that isn't just "the jilted woman." She’s a person whose entire reality just got flipped because of a celebrity’s whim.
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That Kiss (Yes, That One)
There was a lot of talk about the kiss between Kevin Kline and Tom Selleck. In 1997, a "gay kiss" in a mainstream comedy was a huge deal. It wasn't a joke. It wasn't a "gross-out" moment. It lasted a long time.
For a PG-13 movie, that was a bold move. It changed the tone of the film from a standard screwball comedy to something with actual stakes. It forced the audience to stop laughing for a second and realize that Howard’s identity wasn't just a plot point—it was his life.
The Script: Paul Rudnick’s Secret Weapon
Paul Rudnick is a legend for a reason. His wit is fast. It’s biting. But it has a heart. He wrote The Addams Family Values, so he knows how to handle outsiders.
In In & Out 1997, he uses humor as a scalpel. He mocks the stereotypes while also acknowledging why they exist. The "Manliness" tape is a perfect example. It mocks the rigid definitions of masculinity that 90s culture was obsessed with. If you don't like football, are you even a man? If you like Barbra Streisand, does that automatically "out" you? The movie plays with these tropes without being mean-spirited toward the characters.
How it Ranks Against Modern Rom-Coms
If you watch this today, some parts feel dated. The "outing" of someone against their will is generally frowned upon now, regardless of the intent. We view privacy differently in the age of social media.
But the core message—that you are who you are, and your community should stand by you—is timeless. When the students stand up at the end and say "I'm gay" in solidarity (a clear nod to Spartacus), it’s cheesy. It’s totally 90s. And yet, it works. It works because the movie spent 90 minutes making you care about Howard Brackett.
Behind the Scenes: Casting and Production
- Bob Newhart: He plays the school principal. His deadpan delivery is the perfect anchor for the chaos happening around him.
- Debbie Reynolds: Playing Howard’s mother, she brings a certain Old Hollywood charm that softens some of the more frantic edges of the plot.
- The Soundtrack: Beyond Gloria Gaynor, the music choices highlight the campiness that makes the film so endearing.
Frank Oz, known for his work with the Muppets and directing Little Shop of Horrors, brought a specific kind of timing to the film. Comedy is about rhythm. If the beats are off, the jokes die. Oz ensured the pacing was relentless, which prevented the more sentimental moments from becoming too sappy.
Why People Still Search for In & Out 1997
Most people looking for this movie now are either nostalgic for 90s comedies or discovering it through clips on TikTok and YouTube. The "dance" scene is a viral staple. But beyond the memes, it’s a film that represents a specific turning point in queer cinema.
It was a "crossover" hit. It wasn't just for a niche audience. It made over $60 million at the domestic box office. That’s massive for a comedy with this subject matter in the late 90s. It proved that mainstream audiences were ready to laugh with gay characters, not just at them.
Misconceptions About the Movie
A lot of people think the movie is based on a true story. It's not. It's "inspired" by the Tom Hanks moment, but Howard Brackett is a fictional creation.
Another misconception is that it was a controversial "activist" film. It really wasn't. It was marketed as a fun, family-friendly (mostly) comedy. It didn't set out to change laws; it set out to change minds through laughter. And honestly? That's often more effective.
Real-World Impact on Careers
This movie solidified Kevin Kline as a leading man who could do more than just Shakespeare or high-brow drama. It also earned Joan Cusack an Academy Award nomination for Best Supporting Actress. She didn't win, but the fact that a performance in a broad comedy got that level of recognition says everything about how good she was.
For Tom Selleck, it was a chance to break away from the Magnum P.I. image. He showed he had range and wasn't afraid to take risks with his "tough guy" persona.
What to Do Next If You Loved It
If you’ve just re-watched In & Out 1997 or saw it for the first time, there are a few things you should check out to get the full experience of that era's comedy.
- Watch "The Birdcage" (1996): It’s the perfect companion piece. It deals with similar themes of identity and performance but in a much more flamboyant setting.
- Read Paul Rudnick’s Essays: If you liked the dialogue, his writing in The New Yorker or his books like I Shudder will give you that same sharp, hilarious vibe.
- Check out the 1994 Oscars Clip: Watch Tom Hanks’ actual speech. It’s fascinating to see the real-life moment that sparked the idea for the film.
- Look for Joan Cusack’s Interviews: She often talks about the wedding dress scene and how physically exhausting it was to film.
In & Out 1997 remains a high-water mark for the studio comedy. It’s smart, it’s fast, and it’s genuinely kind. In a world of cynical humor, Howard Brackett’s journey toward self-acceptance is still worth the watch.