In the 18 years since Harvey Milk’s assassination as the first openly gay official in American history, little has changed. Homosexuals hide their orientation for fear of reprisals. Church groups continue to loudly denounce them and call for their destruction. And, amazingly, even the American constitution can be changed to restrict the rights of certain people based on their sexual orientation. In 2008. Unfortunately, discriminatory hatred and blind religiosity cloud the central issue: people have the right to be free, no matter their situation, as long as their rights do not encroach on the rights of someone else. A simple philosophy, trampled down again and again by those who care only for their own vision and beliefs.
As I’ve pointed out recently, I despise this way of thinking.
Though coming out too late to help the recent issue in California, Gus Van Sant’s brilliant MILK still manages to make the case that all men are created equal. The film focuses on the last eight years of Milk’s life, when he abandoned insurance sales and began a run for public office in San Fransisco. When we first see Milk, he is cruising a popular gay spot and picking up handsome Scott Smith (James Franco). The two quickly shack up, but soon Milk’s desire to right the injustices inflicted against the gay community in his area lead him to a series of elections. This puts a strain on him and all of his relationships, but he ultimately succeeds in attaining his goal. His victory, though, comes at a high price.
As Harvey Milk, Sean Penn delivers one of the greatest performances in a career of great performances. We see Milk range from a flirtatious pick up artist to a frustrated and angry politician eager to make a difference. Penn slips effortlessly into the role, disappearing entirely and exuding just enough flamboyance without overdoing it. It’s a stunning achievement.
The rest of the cast matches Penn note for note. Franco impresses again in a stellar year with his portrayal of the shy and reserved Scott. Emile Hirsch transforms into radical activist Cleve Jones in a remarkably physical performance. And Josh Brolin amazes as Catholic conservative Dan White, his stern demeanor concealing a deep inner turmoil.
This is easily director Gus Van Sant’s best film to date, reminiscent of Oliver Stone’s early work. Van Sant deftly steps between filmed and archival footage, giving the film a near documentary look that perfectly captures the decade. And the openly-gay Van Sant doesn’t sugar coat the gay lifestyle, either, unflinchingly gazing at the rampant promiscuity and drug-use that dominated the seventies gay scene. Even Milk himself doesn’t escape blame, as Van Sant portrays the man as a skillful politician willing to cut deals for votes and use political power against opposers. While Milk is certainly deified in the inevitably sad conclusion, the film attempts to be fair to the real man behind the movement.
Occasionally art can show us the way to better paths and higher roads to take in the efforts of all men to coexist. For instance, the James Brown concerts held during the worst period of racial strife helped everyone to see the need for racial equality. May films like MILK add their voices to this ongoing struggle for equality, so that all men – regardless of their position in life – may gain the same opportunities and the same hopes together.
A magnificent film.
