A flawed masterpiece is still a masterpiece

Rating: 8/10 (11 December 2005)

Last night my partner of 24 years and I went to see BROKEBACK MOUNTAIN (which appears to be solidly selling out for the full first weekend across the river in Manhattan). Hyped within an inch of its cinematic life and not without flaws (Heath Ledger's central character has the one of several moments of inexcusable carelessness outside his town apartment too *early* in the film for full credibility, and the stories of his and "Jake's" marriages are not fleshed out entirely satisfactorily - that would have taken a longer film that was probably commercially feasible), but my Lord, was this a moving, satisfying film!
Ang Lee paints gorgeous cinematic pictures, and if he OVERkills the "shit-kicking stoicism" of Heath Ledger's "Ennis", Lee creates an emotional landscape that those of ANY "orientation" should recognize and identify with - though those who are . . . or are aware how many people they know are . . . gay or bisexual will find the film most beautifully observed and poignant.
Set in 1963 and the years following (without significant reference to any of the world changing events of those years) this landscape flirts with an almost classic melodramatic trap: Ennis as a boy was horrifically traumatized by his father - Jake Gyllenhaal's "Jack" is the more equipped to deal with the realities of the plot situation - in fact, for two coming from the same "hard scrabble" poverty and lack of education, he DOES handle it better, yet we follow Ennis' story rather than Jack's.
Make no mistake; these are not "role models" any more than O'Neill's Tyrone family in LONG DAY'S JOURNEY INTO NIGHT are, but they are recognizable human archetypes. Ennis, in his unresolvable frustration is brusk and uncommunicative ...occasionally drunk and abusive. Jack, more self aware, is no better able to communicate and lucky to find a wife who knows better how to cope with his limitations.
In lesser hands, this could have been a sorry soap opera. Instead, it is a life affirming recognition of people's ability to endure and grow even when not always making the right decisions or believing they have better alternatives.
I've read a very few (for the most part revealing their own unacknowledged bigotry) questioning how "middle America" will take to BROKEBACK..., but when I was back in Kansas for my 20th College Reunion some years ago (one of only two in my graduating class who were "out" - as I had not been in school - and one of only half a dozen who were now living in "big cities"), the stories I heard from married classmates still living between the coasts almost make me feel in retrospect that this film was made ABOUT a lot of people I went to school with - the poverty and lack of education aside.
This film should do very well in "middle America" - even if, as the Grandfather in Saturday's "Boondocks" comic strip said, there will be a lot of people who "don't want to talk about it." The prospects abroad, where they aren't as provincial as recent years have shown parts of our country to be, should be even greater.
Most people won't even notice the fine score, it's so subtly and perfectly chosen. The music is not only perfect for the scenes supported and good music from our own lives - akin to the great compilation made for THE BIG CHILL years ago.
From the Spanish version of "Perhaps, Perhaps, Perhaps" (recognized by many as the theme song for both the wonderful British and failed American sitcom, COUPLING), used during "Jack's" trip to Mexico to the perfectly taciturn (matching Ennis' character) Willie Nelson recording of "He's My Friend" which almost brings tears over the final credits it's outstanding. I haven't heard a better final piece of music since Bette Midler's "You Got To Have Friends" capped THE LAST OF SHEILA in 1973. It's one of this film's few weaknesses that the music score *doesn't* end there. If the song were new - I suspect it may just be new to me - it would have close to a lock on this year's "Best Song" Oscar.
The film is, in many ways, a moving blend of SAME TIME NEXT YEAR, A RIVER RUNS THROUGH IT and Almodovar's BAD EDUCATION. It should be for American cinema as groundbreaking and successful as Fellini's LA DOLCE VITA was for Italian. It is almost guaranteed Oscar nominations for Adapted Screenplay, Actor for Ledger, Director, Cinematographer and Picture. At this point, BROKEBACK... may have a lock on Adapted Screenplay (possibly setting a record for the least actual words in the sound era ever to win that award) and be "the one to beat" for Best Picture.
Gyllenhaal and Michelle Williams (who plays Ennis' wife) will deserve "Supporting" nominations, but Gyllenhaal is clearly the second lead and Williams' character is too drearily dislikable. While we want to pity her, Ennis' wife brings more than half her problems on herself (not least by forcing their young family to move), rather than being the victim of her husband's ambivalence.
It is fascinating to watch the actress who plays *Jake's* wife (Anne Hathaway) as she brings a perfect subtext of knowledge to her under-appreciated role. She doesn't play for Oscar baiting pathos, but may actually be giving the BETTER performance for its reality.
Rereading the original New Yorker story (at www.newyorker.com/printables/archive/051212fr_archive01), even though I do not agree with some of the conclusions Ennis draws in it - makes the achievement of the film's largely faithful screenwriter all the more impressive.
Good story, wonderful film. Flaws and all. Not to be missed by anyone who loves serious cinema and is adult enough to be secure in their own sexuality.