Review: Brokeback Mountain (2005)
Rick Ferguson
call myself a Coldplay fan, actually. I find them too precious by half.
They're the musical equivalent of one of those massage chairs you pay
to sit in at your local shopping mall- vaguely soothing, but
mechanical and lacking soul. Still, given the woeful state of pop music
today, they're fucking Pink Floyd compared to what else is out there.
So what are you gonna do? Besides, they're one of the few bands my
wife and I can agree to spend money on.
So off we went. Of course, the big question every straight male wants
to know is, does seeing Coldplay make you gay? Now my sneaking
suspicion is that you'll find more homosexuals at a Limp Bizkit
concert than you will at Coldplay. I'd say ninety percent of the guys
at a Coldplay concert have been dragged their by their wives or
girlfriends, which leads us to one immutable fact: if you're at a
Coldplay concert with another guy, you're either desperate and
dateless, or you're gay. We straight guys can hit a Widespread Panic
or a 50 Cent or a Green Day show together, but we can't go see
Coldplay or the Dave Matthews Band together and still keep our Guy
Cards. Sorry dawgs, but that's the way it is.
BROKEBACK MOUNTAIN is the cinematic equivalent of a Coldplay concert.
If you're a straight male, you're seeing it for one of two reasons:
either your woman has dragged you there, or you're seeing it as part
of a group to give yourself hipster credibility. You're secure enough
in your masculinity to wear a pink shirt, drink Zima without irony, use
moisturizing cream and watch the Food Network. So why not go check out
some hot cowboy-on-cowboy action- especially if it'll score you
points with the chicks?
So there we were, in a theater full of straight males and their women,
watching Jake Gyllenhaal play catcher to Heath Ledger's pitcher. The
advance word on BROKEBACK was that it was the gay TITANIC- the film
that straight women and gay couples would see over and over again to
experience the wrenching catharsis wrung from the tale of these doomed
cowboy lovers. And while the actual film is a typically masterful and
understated Ang Lee opus, it's also a little distant. It's a tad
undercooked. And a smidge self-important. Mrs. Fabulous, who cries at
car commercials, squirted out nary a tear. So while discriminating
moviegoers will find it well worth a viewing, it falls short of a
classic.
First of all, these guys aren't cowboys- they're sheepherders,
and the sight of all that prime sheep tail sashaying through the
mountains made me wonder why these two roughriders had to turn to each
other when every shepherd knows that the sheep are the first to go. But
turn to each other they do- violently, compulsively, in a love affair
that spans twenty years, two marriages and dozens of fishing trips
during which no fish are caught. Heath Ledger is Ennis Del Mar, the
taciturn Marlboro man who keeps himself wound tighter than Nicole
Ritchie's belt. Jake Gyllenhaal is Jack Twist, the would-be rodeo
rider who wears his heart on his plaid sleeve. Lee and his
screenwriters expertly guide us through the set-up, as the two men find
themselves in a perfect storm of mountain solitude, tight denim, softly
bleating sheep and cozy pup tents. The film guides these characters
like sheep through the queue and into the sheering pen- and by the
time the sheep realize where they are, they've already been shorn.
Hell, given the same circumstances, I'd probably be pulling down
Jake's blue jeans myself. I mean, the guy does have a purty mouth.
Once entangled, the two men attempt to disentangle themselves and live
lives of quiet desperation like the rest of us. Ennis marries Alma
(Michelle Williams), who dutifully pumps out a couple of kids. But Alma
soon realizes that Ennis is less interested in winning bread than
spending alone time with his good buddy Jack, and her choice becomes to
suffer in poverty and silence or confront her man about his secret
life. Jack, meanwhile, marries Lureen (Anne Hathaway), the comely
daughter of a wealthy tractor salesman, and looks to have it made-
but he's never so happy as when he's off to Brokeback Mountain to
play grab-ass with his one true love.
Gene Shalit, a moron of the highest order, recently referred to Jack
Twist as a "sexual predator" in his own review of the film. But
Jack is clearly the needier of the two men, and it's the conflict
between Jack's aching, open desire for love, and Ennis's rejection
of the same, that beats at the heart of this picture. Those of us who
follow Ang Lee's work know that he works in metaphors; nothing that
he has to say is ever on the surface. Look past the gay cowboy sheen
and you see a metaphor for any doomed romance in which one of the
lovers is unable or unwilling to believe that he or she truly deserves
happiness. Ennis Del Mar is embodied by Ledger as a quivering, lifelong
spasm of denial- he spends his life on the edge of orgasm, but denies
himself the release. Gyllenhaal is good, but Ledger may well cheat
Philip Seymour Hoffman out of his Oscar this year.
So is the moral of the story that Ennis and Jack should have just
opened up a bed-and-breakfast up on Brokeback and lived a full, happy
life serving scones and leading tourists around on horseback? The film
touches obliquely on the subject of Matthew Shepherd-style murderous
gay bashing; given the time and place in which the picture is set, that
danger would no doubt be a serious concern. But this angle is out of
place in a film that really requires you to look beyond the basic
metaphor for universal application. Far more than simply a tale of
unrequited love, BROKEBACK MOUNTAIN is ultimately the story of a man
who gets the life that he settles for. You don't have to be gay to
understand Ennis Del Mar. If you're a former concert pianist who now
sells life insurance; if you're a married man who never did give that
waitress in El Paso a chance to make you happy; if you're a cop who
always wanted to dance but never had the nerve; then Ennis Del Mar
stands for you.
As for me, I'm probably a little gayer than I was before I saw
Coldplay and BROKEBACK MOUNTAIN. But until the right cowboy comes along
to steal my heart, I'll continue to live in sweet denial with the
beautiful Mrs. Fabulous.
***
Visit Mr. Fabulous at www.filmreviewblog.com
Bill Clark
by Bill Clark
http://www.fromthebalcony.com
bi...@fromthebalcony.com
RATING (Fresh or Rotten): A (Fresh)
URL:
http://www.fromthebalcony.com/reviews/2006/06_brokebackmountain.htm
QUOTE: "...a courageous, transcendent film that may prove to be a
landmark down the line in the Hollywood landscape."
What a beautiful film. That's what I kept thinking throughout
Brokeback Mountain, a film that will stay with you for many days -
and for many reasons. Out of all the attempts at realistic love stories
we see each year, it's actually quite a rarity to find one that hits
all the right notes and seems truly real. Brokeback Mountain is such a
treasure - a courageous, transcendent film that may prove to be a
landmark down the line in the Hollywood landscape.
The film has already become a lightning rod for controversy regarding
its subject matter of two sheepherding cowboys who share feelings for
one another, but must hide it over the period of two decades as their
lives go in different directions. In fact, a Utah theater, for reasons
unknown, announced that it would not be screening the film just this
past week after earlier announcing that they would be. Primetime cable
pundits are weighing in with their heads held high on both sides of the
tracks, and it seems like outright homophobia is the most popular (and
most spun) reason for not wanting to see the film. That this type of
dangerously old-fashioned thinking is still so widely prevalent is
troubling, to say the least. Contrary to beliefs held by some
individuals, the film does not have an agenda and certainly does not
aim to offend.
Ennis Del Mar (Ledger) and Jack Twist (Gyllenhaal) are two sheepherders
looking for work in Signal, Wyoming. They are hired by Joe Aguirre
(Quaid) for a summer with strict instructions to ensure that the sheep
loss is minimal. Armed with a tent, a few guns, and a whole lot of
baked beans, the two spend a hazardous summer in the barren landscape.
On one cold evening, the two have sex. Both insist that they aren't
"queer" and that it is a "one shot deal." A kiss soon follows.
The summer ends early, and the two part ways.
The bulk of the film deals with the after-effects of that summer as the
two grow older. Ennis stays in Wyoming and marries grocery store worker
Alma (Williams) while Jack moves to Texas and gets hitched to Lureen
Newsome (Hathaway), whose wealthy family is a seller of large farm
equipment. Ennis and Jack stay in touch via postcards and see each
other a handful of times a year, usually for a high altitude tryst. The
two must confront their feelings as the years go by and it becomes more
and more difficult to hide their affections from not only their
spouses, but the whole world.
While sporting two audacious and perfect performances from its leads,
it is Ang Lee's direction for Brokeback Mountain that is the truly
stunning achievement. Never have the mountains of Wyoming looked so
lush and beautiful as they do here. After a topsy-turvy first twenty
minutes or so, the film really gets going and Lee never lets the viewer
go. His direction is leisurely paced, but undeniably focused. The way
he paints the portrait of the characters' lives is nothing short of
mesmerizing, particularly in the tragic and haunting final act. The
story in and of itself is unforgettable, but Lee's direction is a
masterwork of modern cinema.
Heath Ledger and Jake Gyllenhaal both turn in career best performances,
but it is Ledger who will probably garner the most attention and may
earn himself a gold trophy. His turn as Ennis is resolute and
realistic. He captures the humble Ennis with grace, particularly in a
scene when his character chooses to try and distance himself more and
more from Jack. Gyllenhaal is just as impressive in his transformation,
with it all coming together in a heartbreaking monologue late in the
film. Magnificent supporting work is turned in by Michelle Williams and
Anne Hathaway, with Williams emerging as a true dramatic force.
Brokeback Mountain is an beautifully subdued and masterful piece of
work in every facet of filmmaking. While clearly not having the
intention to be a milestone film, it is one, and in turn is one of the
best films so far this decade. Those who choose not to see it based
solely on the homosexual content are obviously free to make their own
choice, but don't come bellyaching to me saying that there aren't
any good movies out there.
web: http://www.fromthebalcony.com
email: bi...@fromthebalcony.com
Copyright 2006 FromTheBalcony
Homer Yen
by Homer Yen
(c) 2005
Ok, I've heard the critical accolades for this
cinematographically beautiful film. And,
honestly, with the delicate subject material, who
would openly come out to oppose this film?
Certainly not a professional. Certainly not a
paid critic. Certainly not a salaried person who
wants to retain his job. Well, I'm not any of
those. I'm just (I'd like to think) an observant
fellow who enjoys watching films whose opinion is
simply that. It's just my opinion. And, my
opinion is that "Brokeback Mountain" seems like
any other story about forbidden love. Romeo and
Juliet. Tristan & Isolde. And now two cowboys
named Ennis and Jack.
That's not to say that I disliked it. That's
certainly not to say that I opposed the subject
material. And, that's certainly not to say that
I would flail my arms warning people about some
of the risqué scenes that borders on violent sex
and unapologetic male-to-male kissing.
"Brokeback Mountain" ably showcases sympathetic
lead players, picturesque scenery, and tragic
melodrama. But what's all the hubbub about?
The story takes place in Wyoming in 1963. We
meet the two players that will carry us through
the film. They are Ennis (Heath Ledger) who is a
person that is so shy and of few words that he
would try to hide from his own shadow. And
there's Jack (Jake Gyllenhaal), who is a little
bit more gregarious. He's tried rodeo. He's
possibly more experimental. They meet as
teenagers during a summer where they are both
hired to herd sheep through the mountains. This
is not the most exciting job. And with no one
else around, loneliness could set in. And when
weeks crawl by and whiskey overtakes your senses,
unexpected things could happen.
When the two do get together, the sudden
occurrence is surprising. Up to that point, the
two spend hardly any time socializing or
speaking. The arc of their attraction never
materialized. And yet, their union didn't seem
based on lust either. There is, however, an
undeniable bond that develops between the two
afterwards. However, this is a time period where
same-sex attraction was considered an ultimate
taboo. Over the next decades, Ennis and Jack
will have to mask their relationship through
fishing trips in which they never catch any fish.
There are three subtexts at work here. One is
their inability to have their relationship
flourish given their time and place. Another is
how their illicit affair interferes with their
respective home environment (Ennis and Jack each
settle down and have kids). The third, which
could provide some emotional charge to the film,
involves feelings of intolerance in that age.
They are all present to some degree. But none
are explored with enough depth to create a
greater amount of drama. The film moves along,
but with a solemnity that may test the patience
of many moviegoers.
I can admire the concept. I certainly respect
the acting. But the film lacked power. It
lacked passion. It failed to win me over. The
film seemed laborious. It could've just as
easily worked if they were just zealous friends.
As a love story, "Brokeback Mountain" is
partially daring, partially artsy, and partially
peculiar.
Grade: C+
S: 2 out of 3
L: 1 out of 3
V: 1 out of 3
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