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Gus Van Sant has always been an pleasant if somewhat eclectic director. Although I have enjoyed his previous efforts, I was somewhat disturbed when I heard he was undertaking a film biography of Harvey Milk. A joyful figure of this importance, I conception, should be handled by someone a exiguous more mainstream. Like many joyful people, I am weary of gay-themed films that arrive no one beyond a elated 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 involving focus and a singleness of purpose that is at once definitive and topical. A attractive achievement, MILK manages to develop its point without ever being preachy or trite, while remaining as apt to the facts as any film bio could ever hope to be.
The film opens with snippets of jubilant history that many young pleased people, let alone a straight audience, may be unnerved to gape. During the opening credits, a barrage of vintage film clips remind us that a scant 50 years ago, pleased men, lesbians and transsexuals were subjected to violence, harassment, physical abuse, arrest and humiliation by the very people that most citizens notice to for protection; i.e. the police and judicial authorities. The newsreel images of tickled bar raids that originate 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, correct here in the USA, elated people were arrested for simply patronizing a ecstatic 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 price of “deviate”. It is this chilling fact of social injustice that clears the device for the film’s swing into a very significant share of tickled history.
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Skillfully telling us the account of Milk’s rise as a leader in the Castro Ecstatic 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 worn human being with an idealistic curved and a politician’s savvy. As with any well-behaved 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 scheme through a seamless portrait of an valuable 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 pleased audiences emerge from seeing this film with a sense of pride and purpose, while straight audiences leave with a better knowledge of who we (ecstatic 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 describe and some of the best acting I’ve ever seen. I heartily recommend MILK to any straight person who wants to gather a win on what the last 30 years of ecstatic history were really all about, and any jubilant person who wants to feel sterling about themselves. MILK is a triumph. Recognize it.
Allow me to agree with at least one other reviewer that everyone should study this, especially those who assume being cheerful 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 runt. I lived on the other side of the world when he died, in a city in which it was not recent to bustle 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 peruse it.
Milk, it seemed, lived a ravishing used lifestyle, working for an insurance company in Unique York. According to the script, anyway, in 1970 he met a flame and they headed to the west glide. Despite local resistance, they status 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 bag politically active.
In this share of the film, I view for a while that I was going to suffer from motion sickness. The camera seemed to depart quite hasty, and reduce from the scene they were shooting to a historical scene, and benefit. But I adjusted. And Milk lost the first election, then the second, then the third. That, hold it or not, didn’t engage too powerful time for the film to gain across, except that Milk’s lover, Scott (played by James Franco) left after he said he couldn’t consume another one. That’s when the action started (!)
I’m not ecstatic, and have never been terribly sympathetic to many of the tickled causes. At least I never payed noteworthy attention to ‘em. Yeah, I heard inappropriate statements like I quoted above, but I impartial disregarded them. After this film, my spouse felt guilty that she didn’t know considerable about the Milk case. I pointed out that she wasn’t exposed to it mighty. Even to this day many of the pleased “causes” aren’t seen as so mainstream. They’re seen as somewhat fringe. Some alleged “pleased eccentricities” may have added to that exclusion, and I fill the film included that element. Indeed, that’s why Harvey Milk decided to go to Orange County, CA, without his elated supporters, and debate Plot Senator Briggs, played by Dennis O’Hare, the proponent of Proposition 6, a elated rights provision to which gays were opposed, on his absorb 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 plot, 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 considerable I could say about the film. I don’t want to cloak anything of the kill case, as I’ll give too powerful 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 contented 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 legal 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 tickled” person in politics in the US, for having opened to doors for those contemporay editorials.
It’s also, by the contrivance, a testament to the cause of political activism in general; most activists glean themselves in a rut deeper than that of Milk and his associates. This film may remind them to persist!
See this gem, and obtain certain those challenged by cheerful rights glimpse it. Discuss it with them. Someday then we will be able to proclaim that “all men are created equal.”
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