Milk
Go back to the seventies in America, when the next wave of Civil Rights had just begun. Transport yourself to the kitchen of Harvey Milk, where you will listen to his story, both haunting and revealing of a bygone epoch in American history, but one which still lingers and echoes today. Or, you can let Gus Van Sant do all the work for you. You will have
Van Sant directed Good Will Hunting, one of the best films of 1997, so he’s at least used to working with brilliant material, making every attempt to let it speak for itself, while maintaining a vivid directorial vision of telling the story, creating meaningful character relationships, not using too many cliched camera angels or moves, and keeping a good distance from the word ‘kitschy.’
The cinematic conventions used to tell the story are many, but the most important are the ones which Van Sant sets up early on: the use of the narrator and the use of original footage. The former immediately lets us become more than a viewer, but a participant, in the kitchen, late at night, listening to Harvey tell us his story. The latter puts us into a historical mindset, with the full knowledge that what we are watching is historical fiction, a world of its own, distinct from other forms of storytelling. We are watching history unfold, and we get to see it mostly through the eyes of Harvey Milk.
The acting in this one is phenomenal. I was a touch skeptical early on, because I thought I saw a lot of Sam Dawson (I am Sam) in Harvey. What I saw was the vulnerability of a man with naïveté and understanding, a heart that grows, and a mind that seeks both to comprehend and to reach out. Sam had similar qualities, and that’s what I saw. Harvey Milk, though, is an entirely different character altogether. Penn crafted one of the most brilliant performances of his career with Milk. The other actors are also very, very good. Emile Hirsch plays Cleve Jones beautifully; James Franco is a wonderful Scott; Diego Luna is a misunderstood, misunderstanding character named Jack, whose very fragile existence is portrayed wonderfully; and Josh Brolin is great as the reserved antagonist Dan White, whose political exterior belies the deeper turmoil and consternation inside. I could go on. Just know that each character is so wonderfully played, so perfectly cast, that this movie, on acting alone, is one of the best of 2008, even without the great script and directing.
I haven’t said much in the way of criticism for this one. That’s because, honestly, it’s very difficult to find. There were times when I thought that James Franco and Josh Brolin were a touch one-note in their choices, but it seemed to come from a place of truth and honesty, rather than an easy acting choice, especially coming from two actors of such caliber as these two, so I let it go. There were very few moments during the film which felt insincere or deceitful. That’s subjective, of course, but it seemed very honest and rich to me.
It is a great film. Having said all I think needed to be said, I will stop. I will, however, close with this. Harvey Milk, the man, must have been an amazing person, a genuine friend, and a magnetic personality; the homosexual community has him to thank for the civil rights battle which so many groups in America have had to fight, and I think if I had lived then, I would have loved to hear him rally the troops. It nearly brings tears to my eyes as I write the words: “I’m Harvey Milk, and I’m here to recruit you.” Let him recruit you. Please see this film.
Rating: 4/4 Stars