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Gus Van Sant has always been an trustworthy if somewhat eclectic director. Although I have enjoyed his previous efforts, I was somewhat shrinking when I heard he was undertaking a film biography of Harvey Milk. A blissful figure of this importance, I opinion, should be handled by someone a minute more mainstream. Like many delighted people, I am weary of gay-themed films that come no one beyond a delighted audience, and the message I would want to emerge from a film about Harvey Milk should be heard by everyone.
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As if reading my mind, Mr. Van Sant has fashioned a film that is accessible to all, while approaching his subject with keen focus and a singleness of purpose that is at once definitive and topical. A shapely achievement, MILK manages to develop its point without ever being preachy or trite, while remaining as proper to the facts as any film bio could ever hope to be.
The film opens with snippets of elated history that many young glad people, let alone a straight audience, may be haunted to look. During the opening credits, a barrage of vintage film clips remind us that a scant 50 years ago, jubilant men, lesbians and transsexuals were subjected to violence, harassment, physical abuse, arrest and humiliation by the very people that most citizens eye to for protection; i.e. the police and judicial authorities. The newsreel images of glad bar raids that inaugurate MILK project a surreal yet somehow eerily familiar atmosphere that seems to alternate between the bizarre and the barbaric. Many people today are not aware that, in the 1940’s and 1950’s, fair here in the USA, cheerful people were arrested for simply patronizing a jubilant bar (newspaper headline: “Den of Perverts Busted”) . Many of those arrested had their names and employers published in the morning paper (!), and often found themselves unemployed and unemployable, branded with the of “deviate”. It is this chilling fact of social injustice that clears the device for the film’s swing into a very vital fragment of glad history.
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Skillfully telling us the fable of Milk’s rise as a leader in the Castro Glad Community of San Francisco, Harvey Milk is seen throughout the film as a living, breathing flesh and blood person. Van Sant adroitly propels Sean Penn through a warts-and-all portrayal of a obsolete human being with an idealistic curved and a politician’s savvy. As with any suited film, it is difficult, if not impossible, to discern which is more impressive - the balance of a perfect cast and lovingly detailed direction weave their device through a seamless portrait of an famous historical figure, yet we are somberly reminded that many people remember Harvey Milk solely for the “Twinkie” defense of his star-crossed killer. The kill result is that gratified audiences emerge from seeing this film with a sense of pride and purpose, while straight audiences leave with a better knowledge of who we (contented people) are, what we want, and what we are struggling for. By word of mouth I expected a thrilling cinematic experience; what I got was a surprisingly near-perfect motion recount and some of the best acting I’ve ever seen. I heartily recommend MILK to any straight person who wants to pick up a rob on what the last 30 years of pleased history were really all about, and any elated person who wants to feel expedient about themselves. MILK is a triumph. Recognize it.
Allow me to agree with at least one other reviewer that everyone should perceive this, especially those who deem being tickled is so far out of the mainstream that, as my father in law once said, “The Lord allowed AIDS to happen.”
Harvey Milk. A man of whom I know small. I lived on the other side of the world when he died, in a city in which it was not unique to speed into eunuchs. I’d heard of him since, in reference to gayness, but never associated any importance to him. Then I saw that Sean Penn was playing Milk, so I told my spouse that we need to behold it.
Milk, it seemed, lived a comely customary lifestyle, working for an insurance company in Original York. According to the script, anyway, in 1970 he met a flame and they headed to the west skim. Despite local resistance, they site up shop in the Castro district of San Francisco (after “The Haight” had become riddled with crime, homelessness and the like) . Milk then decided it was time to fetch politically active.
In this allotment of the film, I view for a while that I was going to suffer from motion sickness. The camera seemed to fade quite fast, and slit from the scene they were shooting to a historical scene, and befriend. But I adjusted. And Milk lost the first election, then the second, then the third. That, enjoy it or not, didn’t rob too noteworthy time for the film to secure across, except that Milk’s lover, Scott (played by James Franco) left after he said he couldn’t recall another one. That’s when the action started (!)
I’m not pleased, and have never been terribly sympathetic to many of the pleased causes. At least I never payed distinguished attention to ‘em. Yeah, I heard corrupt statements like I quoted above, but I unprejudiced disregarded them. After this film, my spouse felt guilty that she didn’t know powerful about the Milk case. I pointed out that she wasn’t exposed to it remarkable. Even to this day many of the happy “causes” aren’t seen as so mainstream. They’re seen as somewhat fringe. Some alleged “happy eccentricities” may have added to that exclusion, and I have the film included that element. Indeed, that’s why Harvey Milk decided to go to Orange County, CA, without his overjoyed supporters, and debate Set Senator Briggs, played by Dennis O’Hare, the proponent of Proposition 6, a satisfied rights provision to which gays were opposed, on his have terms. And it paid off! The proposition was defeated!
Throughout the film, Milk was reciting a testament into his tape recorder, to be played only if he were assasinated. I wish I knew whether Milk really did that or whether it was added to the film for “carry out.” Either draw, it was the adhesive that kept the film together.
The historical clips also added to the film’s credibility, especially those of Anita Bryant. After Bryant’s success in some anti-gay initiatives around the country, Milk decided to bring her causes to the attention of the people of California, and that’s where the Proposition 6 movement began.
There’s so remarkable I could say about the film. I don’t want to hide anything of the abolish case, as I’ll give too grand away. The acting was definitely Oscar material, especially for Sean Penn. The script and music were award-winning. But the reason I endorse it–especially for those most opposed to pleased rights–is that it shows that those rights are no less constitutional or mainstream than the rights of blacks, women, or any other groups which have had to labor hard for the last 230 years!
Whether the film was timed to approach out–no pun intended–after California’s Proposition 8, I don’t know. But it’s well timed in terms of trying to educate people as to why those true should be guaranteed.
Today we have people like Keith Olbermann to editorialize on those who opposed Proposition 8. We can thank God for Harvey Milk, the “first openly glad” person in politics in the US, for having opened to doors for those contemporay editorials.
It’s also, by the plan, a testament to the cause of political activism in general; most activists secure themselves in a rut deeper than that of Milk and his associates. This film may remind them to persist!
See this gem, and obtain clear those challenged by jubilant rights leer it. Discuss it with them. Someday then we will be able to proclaim that “all men are created equal.”