Harvey Milk

I had little expectations walking into this film. The trailer for this movie has appeared at almost every feature film I've seen for the last two months. But, the trailer is a facile example of this minutely detailed story of the rise of a leader and his martyrdom. While I'm familiar with the story from other sources (Shilts' "The Mayor of Castro Street," and the 1984 documentary "The Times of Harvey Milk"), Gus Van Sant and his cast bring a new immediacy to this story.

None involved in this project could have anticipated the political climate of the premiere of this film: Both the hope of the Obama Presidency and the propaganda that helped Proposition 8 win in California. It seems a perfect environment for this story to reach across America.

The dignity with which all of this is told and acted is its success. At the same time, it doesn't shy away from the culture of the Castro. Perhaps the greatest compliment is the rendering of Dan White here. He is neither demonized nor excused.

We also don't get a white-washed version of Harvey Milk. He's there on the screen with all his foibles and kinks. Although his humanism shines in Sean Penn's unsettlingly accurate portrayal. It was Milk's love of--and impatience with--the rest of us that makes him a legend. And that is center stage in this film.

What Van Sant gives us is both humbling and an inspiration.

'Milk' is another powerful mainstream American movie about gay experience. It seems destined to have the same kind of influence on the public mind as Jonathan Demme's 'Philadelphia' and Ang Lee's 'Brokeback Mountain,' both of which were prominent at Oscar time. Like them this isn't a great film but it's an important one.

In 'Milk' the topic widens to gay politics and gay rights. "These are not 'issues,'" Harvey Milk tells a major opponent, "these are our lives we're fighting for. " His own life peaked at a transformative place and time for homosexuals, San Francisco in the 1970's. A San Francisco Supervisor assassinated by the disgruntled conservative Supervisor Dan White in 1978, Milk was the first openly gay man to elected to public office in California. He was a gay activist who gained fame and political clout. "A homosexual with power--that's scary," Milk tells Mayor Moscone--an ally with whom he sparred, and who was assassinated with him.

If he hadn't been killed early in his political career Milk might have traded his jocular title of "Mayor of Castro Street" (the city's predominantly gay district) for the formal one of Mayor of San Francisco. Dan White himself predicted this.

While Milk sought the whole city's attention with a seemingly trivial cause--a "pooper scooper" law forcing citizens to clean up after their dogs, he has come to represent a profile in courage--a man willing to face up to Orange County bigots on their own turf, who insisted all gays must come out of the closet to unite in strength. The film doesn't idealize the man; his private life is obviously messy, and despite his preaching, he was in the closet to his own parents. His lover leaves him, and a new Latino boyfriend (Diego Luna) is totally unstable.

Every gay advance seems to bring on a backlash. After the 1969 Stonewall Riots (alluded to in news footage as Milk opens) more gay men and lesbians were out and proud, but Anita Bryant, the Florida orange juice advertiser and right-wing Christian gay basher, was on the rampage campaigning for measures all over the country to remove gay rights. In California in 1978 one of her many causes was the Briggs Initiative, Proposition 6, which would have mandated firing all the state's gay teachers.

Today, while the election of an African-American as President makes the US look more friendly toward minorities, anti-gay measures are still on ballots in many states at election times. On the same day that Obama was elected, Californian gay people saw the passage of Proposition 8, put over by Mormon money, to outlaw gay marriage in the state.

Leaving behind the hermetic, personal wavelength of his best film 'My Own Private Idaho' and the stylized elegance of his recent quartet of films, Van Sant returns to a conventional mode closer to his 'Good Will Hunting' and 'Finding Forrester'--but this time with more scope and more commitment to taking a stand as a gay man with a wide audience. The writer for the film was the former Mormon Justin Lance Black, writer for several gay-related films and the TV series about a polygamist Mormon, "Big Love." Harvey Milk (a nicely modulated Sean Penn) first appears recording a tape testament in his final year of life, a scene that bookends the film. Penn's noted for emotionally overwrought roles but his Harvey Milk is someone who rarely loses his cool or his sense of humor even when he meets the hostile Briggs or regularly has to deal with his clueless, inept opponent Dan White (a fine Josh Brolin). Milk mocked the right-wingers' fiction that homosexuals are pedophiles who want to proselytize youth--that gays are made not born--by opening public addresses with, "My name is Harvey Milk and I want to recruit you." It's a line often repeated in the film.

The movie, as is the way with conventional biopics, paints its subject's life in broad strokes. He meets his young lover Scott Smith (an appealing James Franco) while a corporate drone in New York. They decide to start a new life in San Francisco, and open a camera shop together on Castro Street. Before long Milk is in the thick of political activity, talking to Teamsters and cutting off his beard and pony tail and donning suit and tie to meet the general public.

Milk emerges as a true politician. Moscone compares him to Boss Tweed. Through leading a successful boycott of Coors beer for the Teamsters, he forges strong links with labor. Scenes are crowded with political coworkers, and resident cute boys.

Most of all the movie is a picture of community organizing and campaign management. This is told in broad stroke too, but there are many historically specific personalities. Milk ran for office many times before redistricting made a clear win possible. Scotty is his manager, till he can't bear another losing campaign and moves out. Next Milk "recruits" a cocky young runaway and street hustler, Cleve Jones (Emile Hirsch), who claims he can get a thousand gay men on the street on demand and also boasts "I don't do losing." With his new well-connected lesbian campaign manager Anne Kronenberg (Alison Pill) he secures endorsements from the Bay Guardian and the Chronicle, and he wins handily.

It's unusual for a mainstream film to get so much into the practical details of local politics. At the same time Jack is jealous of Scott and Cleve and moving toward a meltdown, and Dan White, having his own more dangerous meltdown, is waiting in the wings.

As a San Franciscan I wish the atmosphere of the tragic finale had been properly amplified by a horrified awareness of the Jim Jones massacre, the news of which had emerged barely a week before White shot Moscone and Milk. But otherwise this stands as an essential piece of gay and California history and Van Sant's fluent, lively film couldn't come at a better time.

Let's get one thing out of the way. Is it entertaining? And how! Sean Penn's best performance to date – Oscar quality; Emile Hirsch riotously perfect (best "supporting?"); James Franco heartbreaking; Diego Luna, devastating; Josh Brolin, flawless. Not one false note in any of the actors – a very complicated story unfolds with absolute clarity. I will be seeing this one again just for the screenplay. I was very gratified that no attempt is made to be "delicate" about Harvey Milk's personality, either his sex life or his out-sized ego, which perhaps ironically for some, makes him all the more heroic. The finest "political" film I think I've ever seen. It does more than dramatize a strong true story, it captures convincingly the truth about a whole political movement. (One that's as freshly active as today's headlines: Prop 6 or Prop 8 — does it ever end?) There is an ease and familiarity to the "scene" — to the historical period and place — with very few, small anachronisms, as far as I could tell. This is also the most assured work of Gus Van Sant, a genuine film artist, who here delivers a complete drama with real visual style and brazen wit. The blending of documentary footage is the most seamless I can remember seeing anywhere. The crowd scenes are remarkable, and all of the location shooting miraculously right. For a couple of fast, fast hours, I felt as though I had spent a couple of days — hilarious, intense, inspiring days — immersed in 1970s San Francisco. This movie does what all movies should do. See it.

Just caught the Portland premiere and have a few thoughts.

Very thankful this film was made. Until now, it seemed like I was fairly alone in knowing about Harvey's legacy. After "Milk" starts getting attention....I hope that a whole new generation will come to know the Mayor of Castro Street (see Randy Shilt's book) and the importance of the gay rights movement.

That being said, Van Sant's "Milk" is great marriage of art and history. Instead of a dry portrait of an assasinated leader, we get a beautifully rendered flavor of the times, and an intimate vision of a man finding his place within a community and history.

Casting is brilliant. Penn inhabits Harvey Milk in a way that few actors I believe would be capable. His physicality and energy is very believable - and it's easy to forget what actor you're watching. After a while...it's just Harvey. I could go on about the supporting cast...all very solid in their own way. James Franco (Scotty) stands out as well....showing his range and willingness to expand as an actor.

Kudos all the way around...I see this film getting several nods at Oscar time.

Additionally...Rob Epstein's Oscar-winning 1984 documentary "The Times of Harvey Milk" is a definite must for anyone who enjoyed this film. I watched it right after "Milk" - and am still impressed with how affecting it is.

In 1978, San Francisco supervisor Harvey Milk - the first openly gay man to hold public office in the United States - and the city's mayor George Moscone were assassinated by a fellow supervisor Dan White. This film - directed by Gus Van Sant ("Good Will Hunting") - tells the story from Milk's 40th birthday in 1970 when he was fearful that his life had accomplished too little. It is a terrific performance by Sean Penn in the eponymous role with the actor capturing the speech and body mannerisms of a gay man in an understated way that avoids caricature or stereotyping. James Brolin is also accomplished as the putative killer, unable to come to terms with a changing world.

In a bio-pic of this kind where the ending is already known and so clearly signaled, the power of the film comes in its style. A mixture of actual television footage from the time and a grainy and jerky style of cinematography, the real and the reel merge almost seamlessly to present a work with a distinct documentary feel, obviously intentional and perhaps enhanced by the screenplay coming from documentarist (and former Mormon) Dustin Lance Black.

If the movie rather glorifies Milk and presents an uncritical portrait of a necessarily controversial character, this is a work which is about more than one man's struggle to achieve electoral power. It is an insight into gay politics that demonstrates the prejudice that had to be overcome, the hard and repeated campaigns that had to be fought, and the compromises and deals that had to be made. In that sense, it shines a torch on politics of any kind.