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The film starts in 1970 when Milk was living a buttoned-down life in New York City, and follows him through the decade when he begins leading a more free-wheeling existence in San Francisco, just as the Castro neighborhood was taking off as a gay mecca. Milk worked hard to become a respected merchant and soon became a politician, trying to represent not just his gay constituents, but minorities and the working class as well. It takes him a few years, but he is eventually elected a City Supervisor; after being in office for a year, he was assassinated, along with the mayor of San Francisco, by Dan White, a disgruntled (that's the adjective that virtually every print source about this guy uses) Supervisor who was certainly homophobic, possibly a latent homosexual, and who claimed that his acts were caused by too many Twinkies in his diet.
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Penn is a wonder, resisting the temptation to exaggerate mannerisms or play it campy; after the first few minutes, he totally disappears in the role. Josh Brolin is almost as good as White; he doesn't have as much to work with, as White was and remains a cipher, at least to the public, but he does a lot with his eyes: sometimes angry, sometimes dead, always chilling. The rest of the cast is good, though only James Franco (above) as Milk's long-time partner, who left Milk when the political animal in him took over, gets much substantive screen time. I also liked Alison Pill as Milk's campaign manager, Victor Garber as Mayor George Moscone, and Joseph Cross as a friend of Milk's, who gets one of the few laughs in the film during a brief sexual escapade. I got quite teary at the end in a scene that plays out like the finale of Field of Dreams (which always gets my waterworks going). The film does a nice job mixing in occasional bits of real-life footage, though we don't see the real Harvey Milk until the credits sequence starts. Highly recommended; I haven't seen many of the Oscar-bait films yet, but I hope at the very least that Penn wins Best Actor for this.
3 comments:
Haven't seen Milk, but it should be an interesting experience here in 1953, my hometown.
What I really want to say, though, i that Field of Dreams leaves me utterly cold. Either I'm not an American man, or I have no soul. Or maybe every soulful American man but me is wrong about this movie.
I saw Field of Dreams about a week or two after my father died, so I was particularly susceptible to its "father-son" schematics. I actually wasn't all that crazy about it as a whole, but that last scene with the headlights had me teary for hours afterward.
Yeah, I can see how the movie would work for you under those circumstances. My problem with it is that it unabashedly sets out to play its audience that way. It seems ... manipulative.
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