Thirty years after the assassination of Harvey Milk, the first openly-gay elected official, Focus Pictures has released Milk, an effective, if long overdue biopic of the slain official. The new film stars Sean Penn in the title role, and the Oscar buzz started long before its release.

For those who aren’t familiar with the story, Harvey Milk was elected to the San Francisco Board of Supervisors in 1977, and led the gay rights movement in that city. He was a business owner, running a small camera store in the Castro district, which is still a major American gay mecca. He served in his post for eleven months before being gunned down by a fellow former Supervisor who had just killed San Francisco Mayor George Moscone moments earlier.

The film succeeds on many levels, most notably with Penn’s performance. He is so absorbed by the character, that it’s easy to forget that we’re watching an actor, not the real man. What’s more, the supporting actors were all at their best, each one taking on a special role in the film.

As the opening credits rolled, the audience is reminded — or introduced — to the modern history of the gay rights struggles in the 20th century. Not too long before the gay pride parades and festivals was a time when the only place gay men could gather was in bars or clubs, and were always at risk of being invaded by police. “Offenders” would be dragged off in paddy wagons en masse. Later, it would be Anita Bryant and her “Save the Children” group that would be the face of the enemy of the gay rights movement, who spread her vitriol with a smile and a song.

After this onslaught montage of the images of the tyrannical majority, we’re introduced to Milk and his new boyfriend Scott Smith (Spider-Man’s James Franco) as they make the decision to move to San Francisco. Penn clearly provides the shape and face of the film, but it’s Franco who provides the heart and soul. In the two men, you see a genuine relationship, one that’s rarely — if ever — shown on screen. They cook, they clean, and they had their struggles. Even after they parted, they remained friends. As bizarre (or disturbing) as some readers might find it, the chemistry between the two men is genuine.

The key points of the film, as would be expected, revolve around the many campaigns and political events in which Milk participated. His first race was in 1973, and met with a political cold shoulder, even from the gay community. It was then that Milk and Smith were both long-haired hippy types, but Milk’s leadership was becoming evident. Later, he learned to build alliances, including with the Teamsters union.

His decision to become a serious candidate in 1975 involved a number of major changes, including a haircut, suits, and a more clean-cut image overall. He quickly earned the respect and support of those around him, as well as those in organized labor. It’s during this time that the film shows his rise to leadership in the community.

Milk’s supporting cast is a diverse blend of rising stars and seasoned pros. Speed Racer’s Emile Hirsch fills the oversized glasses of Milk’s protégé and longtime gay activist Cleve Jones (Jones later conceived the AIDS Memorial Quilt), and Lucas Grabeel of High School Musical fame takes on the role of photographer Danny Nicoletta. Victor Garber (Titanic fans remember him as Thomas Andrews) portrays Milk’s greatest ally, Mayor Moscone. Finally, Josh Brolin (W.) fills the proud-yet-disturbed shoes of Dan White.

One key scene which showcases Milk’s leadership is an impromptu gay rights march after a critical election. The film places the march after a 1978 vote to repeal gay rights in Wichita, Kansas. The actual event, as photographed by J.M. Pritikin, actually took place earlier in June of 1977, after the election in Miami-Dade County. That vote struck down a gay rights ordinance in that city and was the result of the fever-pitch campaign by singer Anita Bryant.

While the film’s success is in its cast, script, and overall historical accuracy, the one drawback is its direction and composition. Director Gus Van Sant has put together a capable film, yet his own composition choices border on the jarringly irritating. A few scenes scenes are out of place, and some points of history, including the march after the Dade County election are casually changed for the sake of dramatic flow. This is the flaw of a great many biopics, and Milk is no exception.

Despite its flaws, Milk is clearly a film worth viewing; not only for the stellar performances of the cast, but for its bird’s-eye view of 1970’s gay rights history. It’s a pity that it was released after this year’s election, since it retells the struggle of another California voter initiative – proposition 6 – which would have called for the state to bar gays and lesbians from being teachers. Unlike this year’s proposition 8, a ban on gay marriage, that proposition failed dramatically.

While this film is unquestionably about gay men, Van Sant wisely focused the story on the lives of the people and their work. Here, we see gay men portrayed as normal as we’ve yet to see on film. It’s a story about struggle, passion, frustration, and ultimately about tragedy. Clearly, it’s a film that reaches out to all audiences. Sadly, many in this area will pass it by, assuming it’s only for the gay community. It’s a film that tells the story of courage in the face of great opposition, something to which everyone can relate.

Just as Harvey Milk worked hard for all of the people in his city, Milk is reaching out to the rest of us. No matter what side of the closet you’re in, or even if you care about closets, it’s a story that’s worth telling. Its message of hope, genuine honesty, and integrity is what drove Harvey Milk, and is a driving force for those who still struggle for equality today.

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