MILK

US, 2008, 128 minutes, Colour.
Sean Penn, Emil Hirsch, Josh Brolin, Diego Luna, James Franco, Alison Pill, Victor Garber, Dennis O ’Hare, Joseph Cross, Stephen Spinella, Lucas Grabeel, Howard Rosenman.
Directed by Gus Van Sant.

It is not usual for a reviewer to put a personal note at the beginning of the review, but I thought it appropriate for Milk.

The first thing is that I was studying for two months in Berkeley in October-November 1978, fourteen Australian religious and priests at that time, the period for the dramatic climax of Milk. There was much discussion amongst Catholics as well as ecumenical discussion about Proposition 6, proposing the repealing of legislation discriminating againsts the rights of homosexual men and women. This made Australians think more about these issues than they had occasion to think of before. The proposition, proposed by Senator John Briggs and anti-homosexual rights campaigner, singer Anita Bryant (both of whom are featured in the film), was defeated. The atmosphere in San Francisco and the Bay area was suddenly shattered when a few days later, supervisor Dan White shot openly gay city supervisor, Harvey Milk, who had championed the opposition to the Proposition. White also shot and filled the mayor of San Francisco, George Moscone. To the outsider, this was another shocking instance of American recourse to the gun as a means of 'solving' an issue.

Though there is no allusion to it in the film, it was only 11 days after the vote that the crisis in Jonestown, Guyana, came to its horrific conclusion with the mass suicide of 900 people and the death of the sect leader, Jim Jones. Most of the Jonestown people were from San Francisco, where they had their headquarters, or from California.

November 1978 was a strange, even weird, time to be in the Bay area.

The second thing is that this review is being written on December 12th and CathNews, the Australian Catholic website, is today posting comments by the Vatican spokesman, Fr Federico Lombardi SJ, on the Catholic Church's stance on legislation discriminating against homosexual people. 'The Church is contrary to legislation that criminalises homosexuality.' Fr Lombardi added that this is clearly expressed in the Catechism of the Catholic Church. The Church's position stems from its respect for the rights and dignity of the human person and explicitly excludes 'any unjust discrimination on the basis of homosexuality'. This was one of the key issues in opposition to the Californian proposition 6.

Incidentally, just above the item on the Vatican on Cathnews website, there was a report of an address by Bishop Manning of Parramatta to graduates where he commented on those Catholics who believe that 'it is their mission to correct everybody else' and to develop a Church of 'those who are right' rather than 'a Church of mercy'. This seemed apposite to the film, Milk.

Clearly, this is not a review of the film but might be considered as 'matters arising...'. The review follows.


Sean Penn, in one of his best performances, holds audience attention in this long film about the San Francisco city supervisor, Harvey Milk, already the subject of an Oscar-winning documentary, The Times of Harvey Milk (1985) by Rob Epstein. This film acknowledges its debt to the documentary.

The film opens with Milk dictating some memories in 1978 and then moves to the announcement of the assassination of Milk and the mayor of San Francisco, George Moscone. Audiences know the outcome of what they are about to see.

Director Gus Van Sant is a gay man and his film, written by Dustin Lance Black, is heartfelt in its championing of campaigns for the civil rights of homosexual men and women and its attacks on discrimination. It also portrays people as they are, strengths and weaknesses, achievements and failures, whether they be gay or straight. Clearly, the film is sympathetic to the cause of homosexual men and women, seeing their history of civil rights as similar to those of other racial, disabled or marginalised minorities.

Van Sant has made a number of more experimental films as well as some in the mainstream like Good Will Hunting and Finding Forrester. While drawing on his experimental styles, he has made Milk as more accessible to the mainstream.

The film goes back to 1970 when Milk is celebrating his 40th birthday and is sad that he has not achieved anything of which he might be proud. Beginning a partnership with Scott Smith (a sympathetic and genial James Franco), he moves to San Francisco and the Castro district where he enjoys a less restricted life than he did working in insurance in New York and sets up a business which leads him into the politics of civil rights. Over the years, he increases his vote, finally being elected as a city supervisor in 1977, the same time as Dan White, of Irish Catholic background, is elected. They try to collaborate but take opposite stands on Proposition 6 and other matters and White feels that he has been humiliated by Milk.

Josh Brolin (after his fine performances in No Country for Old Men and W) is excellent as White, enabling the audience to get behind the sensational headlines of his murders to understand something of why he killed Milk and the mayor.

Quite a lot of footage from television news of the period is incorporated: daily life in the developing gay area of the Castro, news reports from Walter Cronkite, the campaigning of Anita Bryant.

The casting of Milk's associates seems based on their resemblance to the characters they portray with stills of actors and the real people shown at the end. They include Emile Hirsch, Joseph Cross, and Diego Luna as Milk's partner during the campaign, whose erratic behaviour questions Milk's personal judgements or shows his compassion for people in trouble.

Milk is well-made but not comfortable viewing. It also serves as a challenge for audiences unfamiliar with its themes and its characters to reflect on what they stand for and campaigned for, to be better informed and to have a more nuanced approach to agreement or disagreement.

1.A film based on actual characters and events? The 1970s? Politics, civil rights, sexuality, homosexuality? The perspective thirty years on?

2.The work of Gus Van Sant, his films, experimental, mainstream? The passion he brought to this film? The issues and identification? Perspective?

3.The audience response to the issues, to gay rights, to the events of the 60s, the reactions of the 1970s? The religious groups and their entering into politics?

4.Catholic teaching on discrimination, that there should be no discrimination against homosexual rights?

5.The re-creation of the period, New York City, San Francisco and the bay area, the Castro area, the Castro Cinema, the streets? The shops, city hall, the opera house?

6.The use of archival footage, for television commentators, for Anita Bryant and her comments and protests, the marches, Milk’s funeral? Inserted into the framework of the film?

7.The musical score, the songs, ‘Somewhere Over the Rainbow’ as a theme?

8.The strong performances, the screenplay, keeping close to the original events and characters? The final credits and the photos of the actual characters with their star counterpart?

9.The introduction to Harvey Milk, dictating memoirs, quietly, reflecting on his life, experience, sexual issues? His speculating if he were to be assassinated? The reprisal of these images after the showing of the assassination?

10.Harvey Milk in 1970, an insurance man in New York, the background of his family, in the subway, passing Scott Smith, speaking to him, his birthday, Scott’s response, their time together, his lament that he had done nothing worthwhile, speculation as to reaching the age of fifty? The reprising of these images after the assassination?

11.Scott as a person, his charm, the bond with Harvey, the love, their discussions, New York life, the decision to change, a freer life in California, the atmosphere of the 70s, the Haight-Ashbury? area, the Castro? The post-hippie freedom? The apartment, their look, hair, clothes? The lease on the shop, setting it up, the criticism from neighbours? The antagonistic shop owner and his later change of heart? The connections, encouraging the gay customers? Their friends?

12.Harvey Milk and his influence, the experience, the experience of attack on rights, the murder of the homosexual in the streets and nobody charged? His decision about politics, his campaigns, Scott as his manager, the other friends, meeting Cleve and discussing matters with him in the street, his resistance, going to Spain? His return and joining in? The rallies, his jokes, his theme about recruiting the audience? The union response, the speeches and the images of the union supporting him? Going to visit David Goodstein, the discussions, Goodstein’s attitude towards a quiet campaign? The lawyer? The details of the campaign, the contribution of the friends, working in the office, posters, handouts, meeting people in the street? The failed attempts to get elected?

13.The debates, Harvey debating with his rivals, the nature of the speeches, the issues, the murder and justice? Standing for state assembly, discussions, campaign, losing?

14.Harvey’s private life, the relationship with Scott, the apartment, meals, the range of friends, the bonds, the camp talk? Scott and his being tired, resigning as manager, his leaving and Harvey’s reaction sitting in the chair?

15.The change of situation in the electoral boundaries, the map, redrawn, persuading Harvey to stand again? Inviting Anne Kronenberg to be the manager, her tough stances, the lesbian background, the men’s reaction, her success, the San Francisco Chronicle endorsing Harvey Milk? The further endorsements?

16.Dan White, in himself, the Irish Catholic background, the area where he was elected? His family, meeting Harvey, distant, the issues, his speech – and his wife’s support?

17.Harvey Milk and Cleve, the meeting in the street, Cleve helping, the marches, watching Anita Bryant and her campaigns, in different states, in Florida, in Kansas? The angry marches in response, Harvey and his ability to control them, the police relying on him? His ultimately winning?

18.The mayor, the supervisors, the swearing-in, the reactions? City hall, the offices, the staff? Yet Harvey and his home life, the shock, continuing with Dan and his work?

19.The phone call from the crippled young man attempting suicide, his later phone call and move to Los Angeles? Harvey Milk and his response to the needy? The first encounter with Jack, Jack’s personality, ignorant, emotional, his demands, the reaction of the other friends, the embarrassment? Meals, times, being referred to as ‘First Lady’? His final anger and his hanging himself?

20.Proposition 6 in 1978, Anita Bryant and Senator Briggs? The threat of a riot, Harvey as supervisor arranging with Cleve for the procession, his coming out from city hall and saving the day? The propaganda for Proposition 6, the debates, the religious dimension? The political points being made, civil rights? The night of the election, the map, the sudden information about the win, Harvey’s interview on television?

21.The background of the campaign, the marches, Scott and his friendship, the opposition? Dan White and his differing from Harvey?

22.The politics, Dan White and his wanting the institution moved out of his electorate, Harvey doing deals or not, his advice? Harvey going to the baptism? Talking with Dan’s wife and her reaction? Dan White and his failure, attitude to Proposition 6, his drinking, accosting Harvey and being abusive, his personal debts and his comment about family and Harvey not having the expenses? His resignation, going to the police, taking back his resignation, the visit to the mayor, Harvey and his urging the mayor not to reinstate Dan White? Enjoying his power?

23.The day of the assassinations, Dan White at home, dressing, arriving, going in to see the mayor, his shooting the mayor?

24.Harvey and the night before he died, listening to Tosca, his visit to the opera? Ringing Scott? Going to work, his confrontation with Dan White, the dramatising of his death?

25.The marches in tribute, the candles? Harvey Milk dying before fifty, yet his political and civil rights achievement? The final credits, the photos, the aftermath of the movement? The photos of the variety of helpers, Anne Kronenberg and her subsequent history and family, Scott Smith, Cleve and his contributing, Danny Nicoletta and his continuing to be a photographer? Jim Rivaldo and Dick Pabich and their work? The characters brought to life in the film – and in light of their subsequent careers?