In 1997, a media figure was considered so reprehensible that it sabotaged a movie about his involvement in important First Amendment cases. Good thing the country lowered its standard for public figures in the decades since. The People Vs. Larry Flynt was never meant to glorify the publisher of Hustler. The point was that defending freedom of speech meant defending his too. It’s also worth noting that the film only defended Flint’s right to publish. It did not endorse characters like him for public office.
Now on 4K UHD, The People vs. Larry Flint is a journey through the latter half of the 20th century, recreated expertly by director Milos Forman, production designer Patrizia von Brandenstein, art directors Shawn Hausman and James Nedza, costume designers Ariane Phillips and Theodor Pistek and cinematographer Philippe Rousselot. It looks like ‘90s film, which gives period pieces texture, and Flint’s gaudy decorations are every bit as glaring at home.
Many of the principals gave Arrow new interviews for this edition. The issue of Gloria Steinem’s protest comes up frequently as it still smarts that an outside figure influenced the reception to a movie of which they remain rightfully. In his Charlie Rose interview, Forman responds directly to Steinem.
Woody Harrelson remembers minute details of the film shoot, including a scene that required him to shave. Many discuss the precedents Flynt was involved him that would have protected them from Flint’s objections, but they ultimately included him and cast him as a judge. Producer Janet Yang shared the production got on Flint’s Christmas Card list.
Screenwriters Scott Alexander and Larry Karaszewski share some pages they deleted and a deleted scene Forman filmed. They also share personal stories of Flint watching the film at a famous L.A. theater.
A 30-minute documentary includes Flint in his own words, and his lawyer Alan Isaacman. Even Jerry Falwell gives an interview on his feud with Flint. Previous DVD extras and 2003 era commentaries are also included giving somewhat immediate and then long-term aftermath perspectives on the film.