Gus Van Sant has always been an honorable if somewhat eclectic director. Although I have enjoyed his previous efforts, I was somewhat terrified when I heard he was undertaking a film biography of Harvey Milk. A overjoyed figure of this importance, I concept, should be handled by someone a minute more mainstream. Like many delighted people, I am weary of gay-themed films that advance no one beyond a blissful 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 bewitching focus and a singleness of purpose that is at once definitive and topical. A glowing achievement, MILK manages to execute its point without ever being preachy or trite, while remaining as suitable to the facts as any film bio could ever hope to be.

The film opens with snippets of jubilant history that many young tickled people, let alone a straight audience, may be insecure to contemplate. During the opening credits, a barrage of vintage film clips remind us that a scant 50 years ago, tickled men, lesbians and transsexuals were subjected to violence, harassment, physical abuse, arrest and humiliation by the very people that most citizens view to for protection; i.e. the police and judicial authorities. The newsreel images of overjoyed bar raids that commence 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, legal here in the USA, glad people were arrested for simply patronizing a contented 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 stamp of “deviate”. It is this chilling fact of social injustice that clears the procedure for the film’s swing into a very necessary share of pleased history.

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Skillfully telling us the tale of Milk’s rise as a leader in the Castro Overjoyed 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 extinct human being with an idealistic curved and a politician’s savvy. As with any noble 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 plan through a seamless portrait of an critical historical figure, yet we are somberly reminded that many people remember Harvey Milk solely for the “Twinkie” defense of his star-crossed killer. The extinguish result is that overjoyed audiences emerge from seeing this film with a sense of pride and purpose, while straight audiences leave with a better knowledge of who we (blissful 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 record and some of the best acting I’ve ever seen. I heartily recommend MILK to any straight person who wants to rep a steal on what the last 30 years of overjoyed history were really all about, and any satisfied person who wants to feel profitable about themselves. MILK is a triumph. Look it.

Allow me to agree with at least one other reviewer that everyone should eye this, especially those who judge being blissful 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 petite. I lived on the other side of the world when he died, in a city in which it was not novel 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 gawk it.

Milk, it seemed, lived a glowing worn lifestyle, working for an insurance company in Novel York. According to the script, anyway, in 1970 he met a flame and they headed to the west hover. Despite local resistance, they residence 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 catch politically active.

In this part of the film, I view for a while that I was going to suffer from motion sickness. The camera seemed to travel quite speedy, and gash from the scene they were shooting to a historical scene, and succor. But I adjusted. And Milk lost the first election, then the second, then the third. That, gain it or not, didn’t hold too noteworthy time for the film to gather across, except that Milk’s lover, Scott (played by James Franco) left after he said he couldn’t bewitch another one. That’s when the action started (!)

I’m not satisfied, and have never been terribly sympathetic to many of the glad causes. At least I never payed noteworthy attention to ‘em. Yeah, I heard infamous statements like I quoted above, but I impartial disregarded them. After this film, my spouse felt guilty that she didn’t know grand about the Milk case. I pointed out that she wasn’t exposed to it great. Even to this day many of the cheerful “causes” aren’t seen as so mainstream. They’re seen as somewhat fringe. Some alleged “delighted eccentricities” may have added to that exclusion, and I maintain the film included that element. Indeed, that’s why Harvey Milk decided to go to Orange County, CA, without his jubilant supporters, and debate Region Senator Briggs, played by Dennis O’Hare, the proponent of Proposition 6, a gratified rights provision to which gays were opposed, on his believe 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 “finish.” Either procedure, 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 remarkable 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 joyful 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 reach 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 upright 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 device, a testament to the cause of political activism in general; most activists derive themselves in a rut deeper than that of Milk and his associates. This film may remind them to persist!

See this gem, and obtain obvious those challenged by blissful rights study it. Discuss it with them. Someday then we will be able to proclaim that “all men are created equal.”

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