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REVIEW: Milk
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.
Full SPEED Ahead!!
After the Wachowski Siblings released the first trailers for their upcoming live action version of the seventies cartoon classic SPEED RACER, many movie fanboys spent far too many hours bashing the kaleidescopic visuals. Nevermind that most of these fanboys were yet to make an appearance as anything other than watery ejaculate when the cartoon was at its peak.
I, on the other hand, was a five year old boy during this time - thank goodness LOGAN’s RUN never came true! - and I know as well as anyone what made the cartoon work: THE CAR, THE CAR, THE CAR.
The characters were basically non-existent, the animation barely moved, and very little of the weekly story made any sort of sense. Yet, that damned car fueled the imaginations of an entire generation of boys in America. “What could you do if you had Speed Racer’s Mach Five?” we would ask ourselves. The answer was, as always, “anything we damn well pleased.”
And yeah, we used the word “damn” at five years old. When Mom wasn’t around, that is.
As a long-term/ancient fan of the cartoon, I was filled with apprehension after watching the trailers. It seemed to me that the Wachowski Siblings spent too much time trying to emulate the crappy animation of the series - something that nobody fondly remembers or ever wanted to see again. Additionally, the Mach Five never really made much of an impression in any of the trailers … and as I’ve made clear, that’s the whole point.
Well, I am happy to report that they have fixed this little glitch with the new domestic trailer for the movie. Not only do we get to see the Mach Five in its full glory - complete with that “yawnk yawnk yawnk” sound we love so much - but we also get to see the characters interact on a personal level.
Here is the brand new trailer for SPEED RACER:
Here it is in HIGH DEF!
I think Susan Sarandon looks much better in the Mom role than I had feared. I also thought the action scenes made much more sense visually than I had seen them represented previously. While the plot still sounds like limp catshit, the Wachowski Siblings appear to be on the right track in capturing the feel of racing with this movie.
FULL SPEED AHEAD INDEED!!!
