I can see that, now that I've had some time to think about it. Feel free to tell me I'm a presumptuous twat, but it might also be a cultural thing. The AIDS crisis in America and our government's response to it is one of the blackest marks in our nation's cultural history, and I think the film, made when it was, assumes the audience has a basic knowledge of the crisis.
Now that the crisis is "over" in America, a lot of the history has been allowed to be forgotten, especially as Reagan's disciples codify him as one of the greatest presidents ever, despite the fact he let thousands of Americans die on his watch simply because they were gay, or drug addicts, and that he wouldn't even acknowlege the crisis when one of his closest friends was dying of the disease. (Wow, that was both Princess Kate-ian and Cuchalin-y. Good job, me.)
Anyway, as a pretty militant supporter of gay rights and of AIDS awareness living in New York (one of the cities hit hardest by AIDS), the film hits me because, while it has sappy moments, it also does an excellent job of showing the "before" and "after." Those years between 1981 and the late 90s fundamentally changed the way we view sexuality in this country, and was a devastating blow to the gay rights movement, one from which it's still recovering from. Not just because so many gay rights leaders, like Bill Kraus*, died of AIDS, but because of the stigma of the disease as a "gay cancer."
And one of the marvelous things about the movie is how unafraid it is at presenting the gay men. Compare this to the pretty chaste PHILADELPHIA, for example. Here, it's clear that the men are having sex and are in romantic relationships, etc., and they're not desexualized like they are in a lot of films. Although I do fault the film for not presenting a more varied portrayal of the gay men, because they're all white and successful, for the most part. Perhaps more about that later...
I'm rambling, but I think one of the things the film gets absolutely right is that scene at the end on the beach. It's a big moment, but it's also one of the only instances I can think of in a drama film that truly shows what I was discussing above, and that's the utter cost of AIDS, and watching that crowd on the beach...the senslessness of that loss of life hits me hard, and it always leaves me a little bit angry.
If you liked this, or you want to find out more about the context, I can't recommend AND THE BAND PLAYED ON by Randy Shilts enough. Easily one of the best books I've ever read, and an absolutely essential book. There's also the HBO miniseries adaptation of ANGELS IN AMERICA, which is more fantastical yet more grounded in its own way than LONGTIME COMPANION can be. Plus, it's got Al Pacino's last great performance.
*Played by Sir Ian McKellen in the just-okay adaptation of AND THE BAND PLAYED ON...