Episode 81 – Robert Epstein’s The Times Of Harvey Milk

In episode 81 of the CriterionCast, Moises, James, and Travis are joined by Alonso Duralde to discuss Robert Epstein’s classic documentary: The Times Of Harvey Milk. In addition to the discussion, they cover the week’s news and new releases from the Criterion Collection.




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Buy the Blu-ray from Amazon

Buy Alonso's books!

Buy Alonso's books!

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Next week on the podcast we’ll be covering Stanley Donen’s Charade.

Shownotes:

00:00 ‘“ 00:30 ‘“ sneak previews

00:30 ‘“ 02:29 ‘“ introductions

News:

02:30 ‘“ 13:20 ‘“ News Discussion

Criterion Collection New Release Discussion:

13:25 ‘“ 20:20 ‘“ Criterion Collection New Releases ‘“ Pale Flower, Something Wild

Main Discussion:

20:21 ‘“ 1:03:45 ‘“ The Times Of Harvey Milk

Wrap Up:

1:03:45 ‘“ 1:09:15 ‘“ Credits

1:09:15 ‘“ 1:09:45 ‘“ Meatlocker ‘“ Fatboy Roberts

More from Ryan Gallagher

3 Comments

  • Good show.  I remember where I was when I first watched THE TIMES OF HARVEY MILK, because just after watching it I heard the news that Osama bin Laden had been killed.  The dichotomy was interesting.  In one instance the death of a man leads to riots of outrage, and the other leads to riots of joy.

    Also, Alanso, how is Jackass a movie for gay men?  Fight Club sure that’s obvious, but why Jackass?

  •  Jackass is totally gay. Those guys filling body holes with strange objects. A lot of Bondage stuff mixed with looney toones cartoons mentality.

  • Hi! Just a quick comment on the BFI chat near the beginning of the show: I was a bit surprised by the portrayal of them as greedy. 
    The Red Shoes restoration you refer to was undertaken by UCLA (the BFI helped provide source materials) and as the BFI don’t own the rights to the film, wouldn’t have been able to control rental prices. The rights holder is (in the UK and I think in the US too) ITV Studios, so they probably would have set prices in that case.Given that the BFI is a charity whose remit is to “promote access to… the widest possible range of British and world cinema”, it would seem unlikely that they would have made access to Two Faced Woman prohibitively expensive, but of course not using the print Warners had in their archive and going to the UK to do a new transfer would probably been cost prohibitive for a Warner Archive title, however willing the BFI were to help.

    My experiences of the BFI are that their charges seem quite reasonable (as a consumer), certainly by commercial standards…

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