Daring, Haunting, Mesmerizing, and Thought-provoking

Rating: 10/10 (18 December 2005)

Brokeback Mountain would not be so successful were it not for inspired players at all levels of its production. Vast credit goes to Anne Proulx's sparse and touching original story, Larry McMurtry and Diana Ossana's screenplay respectfully true to Proulx's form, Ang Lee's artistic vision, and the stunning actors who represented the time, place, and intention of the story so assiduously. Ang Lee has done some remarkable work: Sense and Sensibility, Crouching Tiger Hidden Dragon, and now this. The variety of genres he has tackled is evidence for an enlightened director, versatile and daring. The scope of the film is very personal, an intimate snapshot of a beautiful and tragic love which the viewer can participate in and relate to his own life in whatever capacity. Jack's and Ennis' love is one of lost opportunity, beginning thunderously and slowly fraying until the threads are gone entirely and cannot be rewoven. Thus virtually anyone can relate to Brokeback Mountain and apply it to any moment or decision in his life that he regrets. Why didn't I go traveling when I got out of college and do something adventurous? Why did I not seize the chance to profess my love to my estranged father before he died? Why did I not appreciate that job when it turned out to be the best experience of my life? Why do I let these joys in life slip by me? What exterior or self- generated barriers prevent me from embracing life without guilt? Thus, Brokeback Mountain provides us with an epic and unique story with an accessibly universal theme: that of longing, regret, and self-affliction. Meanwhile, the movie's rapid temporal changes with almost seamless transitions exemplify that no matter how much time elapses, nothing will improve without a fundamental change in one's psychology. Jack's and Ennis' frustrations are not abated after 20 years in part because of society's intransigent dismissal of gays and concomitantly, Ennis' lack of courage to renounce society's expectations and secure the life he so desires.
The actors are phenomenal. Heath Ledger's myriad expressions alternate with extraordinary subtlety and unhindered energy. Ennis' curiosity is lightly etched on his face as he observes Jack from a distance, the growing comfort he feels around Jack is demonstrated by his increasing loquaciousness, the fear and shock of Jack's advances are muttered in incoherent grunts, the shy awakening of his desires are found in his slow approach to the tent, hat tenderly by his side, the frustration that boils into his violent outbursts, and the complete and utter despair at the end. Ennis grows more and more introverted through the years, escaping into his cold shell of depression and guilt. The viewer witnesses the transition from beginning to end, and it is torturous. Ennis and Jack part for the last time by the lake, hurt and unsure of the status of their relationship. Then we are shown an idyllic flashback of an amorous Ennis comforting a serene and tired Jack before one of their partings many years ago, and the contrast between past and present is stark. Ennis no longer luxuriates in their love...he feels it has destroyed him. The failure of Ennis and Jack to agree upon a common future is the underlying tragedy in this film. Even though Jack may feel shoved away by Ennis, the viewer knows Ennis is irrevocably attached to Jack. Their love is mutual, but their ideas are not. Jack desires a permanent life with Ennis, while Ennis deems it impossible. The former's hope and positivity wrestle with the latter's pessimism and fear until they are both destroyed.
The movie courageously depicts the raw sexual appeal between the two men, which proves exciting, realistic, and surprisingly tasteful. More importantly, the quality of the acting and the intensity of the story completely overwhelms any feeling of discomfort a squeamish viewer might expect from same-sex intimacy. It is also important to note that their relationship evolves, starting out lustfully and maturing into a tender, caring dependency. Brokeback Mountain smashes erroneous preconceptions of being a film about two cowboys frolicking in the wild. If one has a heart, he/she will recognize this film as perhaps the most romantic film of the year. It jettisons the hackneyed representations of gays in Hollywood through complex characterization, integrity of character, and respect for one another. Ennis stoically fights two filthy roughnecks who make rude comments about "pussy" around his wife and two daughters, while Jake lambastes his churlish father-in-law for disrespecting him and his wife at thanksgiving dinner. These are not the kitschy pair of effeminate gays typecast in Hollywood, they are emblems of masculinity true to cowboy lore, which empower them as characters to which wide audiences can relate.
Brokeback Mountain is a stirring story with all the ingredients for an epic film. Even the soundtrack is good. Initially i thought it rather repetitive, but the slow strumming of the acoustic guitar truly grew on me. Its incessant return during sensitive moments gracefully accentuated the pangs of loss, hope and pity I shared with the characters. The music is gentle and relentless, a rare combination. I have limitless respect for the creators of this magical story, for having a vision and constructing it with artful precision. The pathos it exudes depressed me for a week, compelling me to see it again with my friends. The subtleties of the expressions and aesthetic moments stood out more clearly the second time, and I was better able to admire the poignant, crafted work of drama that Brokeback Mountain is. Anne Proulx has remarked how dismayed she is that Jack and Ennis have returned to the forefront of her consciousness, having buried their turbulent lives in the novella she wrote for the New Yorker. But with the movie released, they have returned in all their sad splendour. I feel exactly the same way, and I write this review in desperate search of catharsis. Watch the movie.