Tag Archives: Gus Van Sant

‘Slumdog Millionaire’ deserved it

A still from the film “Slumdog Millionaire,” which tonight deservedly won Best Picture and Best Director for Danny Boyle.

I’m a gay man and so I guess that I was supposed to be rooting for “Milk” for Best Picture and/or Best Director (Gus Van Sant), but the fact of the matter is that I enjoyed “Slumdog Millionaire” more than I did “Milk,” so I don’t think that “Milk” was slighted tonight by the awarding of Best Picture and Best Director to “Slumdog Millionaire” and its director, Danny Boyle.

Of course, comparing “Slumdog Millionaire” to “Milk” is comparing apples to oranges, but, it seems to me, it took a lot more creative talent and energy to invent and capture on film the enthralling and clever fictional story of “Slumdog” than it did to depict the life of the real-life Harvey Milk, which biographers and historians (and at least one documentary filmmaker) already had documented and which only needed to be re-enacted. (Indeed, at least two or three scenes in “Milk” are re-enacted television news clips.)

Sean Penn’s performance as Harvey Milk certainly deserved the Best Actor award, which (along with its award for Best Original Screenplay [“Slumdog” won for Best Adapted Screenplay]) is ample reward for “Milk.” (And don’t get me wrong; anyone who cares about equal civil and human rights for all Americans needs to see “Milk.”)

Heath Ledger’s posthumous Best Supporting Actor award for his peformance as the Joker in “The Dark Knight” also was deserved. Some will assert that Ledger was given the award only because he died, but Ledger’s intense performance is the only thing that makes “The Dark Knight” worth watching; he did a hell of a job in that film.

Penelope Cruz, who won Best Supporting Actress for her performance in Woody Allen’s “Vicky Cristina Barcelona,” made that film, too, and so I’m happy with her win.

I haven’t seen “The Reader,” for which Kate Winslet won Best Actress, but I guess that I will see it now. I’ve always liked Kate Winslet, whom I did see in “Revolutionary Road.”

I didn’t watch the Oscars this year — I rarely watch TV — but this year’s awards seem mostly deserved.

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Film review: “Milk”

Sean Penn (center) and Diego Luna (far right) in Gus Van Sant’s film about slain 1970s gay-rights icon Harvey Milk, which evil, liberal Hollywood is going to award some Oscars.

I remember when I used to see containers of homogenized milk labeled as “homo milk” and jokingly thinking: Gee! They make milk just for people like me!

OK, I got that out of the way, so now I can proceed to write about Gus Van Sant’s “Milk”:

Wow. What a film.

Usually when they hype a film I’m disappointed when I see it, but “Milk” — which I saw today with my closest female friend (and lately I’ve been dragging her to so many gay-related things that I’m thinking that she and I need to go to a monster truck rally very soon in order to balance it out) — exceeded my expectations.

There’s a little bit of sappiness in “Milk,” especially at the end, but in “Milk” gay-rights-movement icon Harvey Milk is portrayed as a hard-nosed politician who even manipulated — hell, who even more or less manufactured — events for political gain more than he is portrayed as a martyred saint.

I haven’t read the late gay journalist Randy Shilts’ biography of Milk, The Mayor of Castro Street, a copy of which I’ve had for years and years, but in “Milk,” Harvey is portrayed as having apparently betrayed his eventual assassin, fellow San Francisco Supervisor Dan White, after they had agreed to help each other win what the other wanted on the city’s board of supervisors (which is the equivalent of a typical city council).

In “Milk” Harvey Milk is portrayed as having gotten at least a bit drunk on power (after he finally won an election), such as in the scene in which he threatens the late San Francisco Mayor George Moscone that if Moscone doesn’t do what Milk wants him to do, Moscone will lose the support of the gay community, spelling the end of Moscone’s political career. Harvey played hardball, if “Milk” is historically accurate.

Oh, hell, I’ll just come out (so to speak…) and say it: “Milk” isn’t too shy to portray the possibility that Milk contributed to his own murder by having antagonized, unnecessarily, his nemesis White.

Not that White had to resort to murder, but he was pushed, if “Milk” is historically accurate. Milk had gotten what he wanted — a gay-rights city ordinance passed — by an overwhelming vote of the board of supervisors, so there was no reason, that I can tell, that it would have harmed Milk, politically, to have stayed out of the issue of whether White should have been allowed to return to the board of supervisors after he had resigned, citing his too-low salary as the reason. 

I congratulate Van Sant’s “Milk” for portraying Harvey Milk as a flawed hero. Power corrupts even the best of us.

I found “Milk” inspiring — I probably finally will read Shilts’ biography of Milk, and I probably will volunteer at my local gay and lesbian community center on “Day Without a Gay” on Wednesday — and it moved me to tears more than once or twice during its two-hour run, and it’s not many movies that can induce me to shed a tear.

It’s too bad that “Milk,” with its rather extensive portrayal of the defeat of the odious anti-gay Proposition 6, was released after the narrow passage of the odious anti-gay Proposition 8 last month, but, I suppose, better late than never. “Milk” can only help the campaign to overturn Prop 8, and since the wingnuts, who are utterly lacking in talent and brains, can’t make a film that anyone would want to see, they have no answer. 

“Milk” is going to be to the gay community what “Brokeback Mountain” was, but while “Brokeback” only indirectly tackles the issue of gay rights, “Milk” tackles the subject head on, and does it with the star power of Sean Penn as Harvey Milk, Josh Brolin as Dan White, and James Franco as Milk’s long-time love Scott Smith.

Poor Sean Penn probably will get a best-actor Oscar, and that all he had to do was kiss the gorgeous James Franco to get it. I hate Sean Penn! No, but seriously, Penn did a kick-ass job as Milk, and Franco did a great job, too; the actors’ intimate interactions are quite convincing as two men who love and who are in love with each other.

Josh Brolin turned in another of his usually reliable performances (I didn’t like “No Country for Old Men” overall, but I liked Brolin’s performance in it), playing a Dan White who seems, with his obsession over homosexuality, possibly to be a closet case and who is more of a sympathetic character in “Milk” than you would have expected him to be.

Diego Luna did a great job as Jack Lira, Milk’s spitfire Latino lover who came after Milk and Scott Smith split up. Just as the real-life Lira apparently got second billing to Smith, so, it seems, Luna’s great performance as Milk’s passionate and unstable lover Lira is getting second billing to Franco’s performance. (Just don’t do anything crazy, Diego!)

Emile Hirsch as young activist Cleve Jones is getting rave reviews, but I think that Luna worked harder. Hirsch is best in the scene in which he and Milk first meet, but Luna’s role, it seems to me, was more demanding.

Like “Brokeback Mountain” was nominated for several Oscars, expect “Milk” to be nominated for several Oscars, too — and expect the wingnut motherfuckers to bitch and moan once again about how liberal Hollywood loves to give Oscars to movies about fags.

I expect an Oscar win for Penn and for director Van Sant, whose departure from his often-eccentric cinematic style (“My Own Private Idaho,” “Even Cowgirls Get the Blues,” and “Elephant” come to mind) seems to have been done with a best-director Oscar in mind. “Milk” just might win best picture, too, which would nice after the passage of Proposition Hate — er, 8.

My grade: A

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