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Still, most people, especially gay men, will want to know one thing: For the most part: Ledger offers the strongest acting here and delivers one of the finest performances in his short career. He fully owns his character, Ennis—I know, interesting choice of names and after a few cocktails, one can imagine what the club set will do with that one.

He evokes a sense of longing, confusion, uncertainty. Jake would love nothing more than to run off with Ennis, but Ennis is tepid.

Brokeback Mountain

His marriage, his daughters—how would it all work? And it does have this [feel] of the macho western, but with the gay love story. That makes it very unusual and very attractive to me. They get choked up. For the most part, Lee was not plagued with the potential controversy that Brokeback could spawn. Could middle-America actually embrace a gay cowboy story, regardless of how poignant and universal the tale actually was?

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Are you reserved? How honest are you? While the story told us little about the women and their families, the film deftly embroiders their own losses and disbelief.

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Marriage is a problem; its heterosexual normalcy has ensnared all four. Its attempt to channel and contain desire both in the anticipation of marriage and in its consummation have failed.

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Romantic love has once again broken its bounds. At the same time, the men fail their marriages not just in their love and desire for each other, but also in their failure to meet the ideology of masculine head of household.

Ennis marries first, fathers two children, and poorly performs his bread-winning part. After his time on Brokeback, we first see him sweaty and sooty working on road construction, only later finding the seasonal ranch jobs he favors. But Alma, dissatisfied living in the rural isolation of ranches, convinces him to move to town, and she takes a grocery store job. Their apartments testify to a kind of lower class disorder: Ultimately their marriage dissolves as much for economic reasons as for sexual and psychological ones. In the next scene a judge finalizes their divorce.

Here Lureen through her father and her own ability contributes the family business and financial savvy. Jack is marginalized early in the marriage. The revolt is against the fathers, not against the wives. It features an adulterous relationship, it likens love to the placidity and the fierceness of nature, and it ends with the death of one partner, leaving the other lover and the audience immersed in unrequited love. Such orthodoxy might have seemed musty if not for the thrill of two apparently straight young actors playing gay, or at least bisexual, men.

The obstacles to this romantic love, although in some ways ordinary, are obviously new. Is it just Tristan and Isolde with two masculine chests and cowboy hats? In at least three ways, the film deepens and rewrites romantic narratives: Ennis, having arrived early in the morning with a paper bag as his only luggage, leans against the trailer, hat covering his face, seemingly asleep. Suddenly he takes a drag on a cigarette and shyly looks side to side with awkward, barely open eyes, as though afraid to interact with the world.

'Brokeback' breach for repressed men / Film's message -- this could be you - SFGate

Jack arrives in an old backfiring truck, kicks the wheel in frustration, and then for the first time sees Ennis. Neither says a word. Two young men, one with a small paper bag, the other with a backfiring truck. Their material circumstances reflect their familial isolation and are reestablished in their offering themselves for the temporary summer work of shepherding. On the mountain, the terms of their job force them to violate national park service rules and to suffer in concealing it.

One man must sleep with the sheep at night to defend them against wolves and coyotes and return each day to the campsite in the valley to eat breakfast and dinner. Their provisions are scanty—mostly potatoes, beans, and whiskey. They eat poorly and shiver in the cold, so they kill an elk and share a tent. Their hardship draws them together. While that first night looks like lust with only quick, sudden sex, the background is their essential loneliness, poverty, and low status, and their emerging friendship. They are neither rich, nor royal, nor successful, nor the envied life of the party.

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Their familial isolation is mirrored by the natural isolation. Here the theme of tenderness and care enters the story, something both characters are missing. In most romance narratives, tenderness might be present but incidental. Here in Brokeback, gestures anchor the film, making the love and longing tangible and believable; they also exceed gender expectations. The first gesture comes when Ennis returns after dark to their camp, his brow bloody and pulpy from a fall off his horse after an encounter with a bear.

At first, Jack glares, annoyed that dinner is not ready, and then suddenly he notices the wound, wets his bandanna in warm water, and carefully dabs the blood. Although Ennis interrupts the gesture by grabbing the cloth, the camera catches Jack as his concerned gaze lingers on the brow for a moment longer. As the time on the mountain passes, these caring personal gestures are also supplemented by the ongoing impersonal acts of care.

At first Ennis cooks for both, then Jack does the cooking, and at first Ennis washes clothes in the river, and then Jack washes the clothes. The moment stands as the quintessence of their high altitude utopia. In the short story, Proulx describes it this way:. What Jack remembered and craved in a way he could neither help nor understand was the time that distant summer on Brokeback when Ennis had come up behind him and pulled him close, the silent embrace satisfying some shared and sexless hunger.

Later, the dozy embrace solidified in his memory as the single moment of artless, charmed happiness in their separate and difficult lives. Proulx, In the film we see two men with cowboy hats and a saddled horse to their left. When a man caresses a woman, it is expected, as we are used to seeing a woman needing protection and comfort; the power structure expects it. If a man caresses a man, the power structure is confused. Traditionally, men are all bluster and posing, and in our expectations, if not in reality, they never truly care for each other except in the extremities of war.

In the film, this is so subtle, so momentary, and so soft that in many cases only a second or third viewing would prompt one to catch the words. He pressed his face into the fabric and breathed in slowly. We see him embrace the two shirts, still on their common hanger, as though he were about to dance a waltz, but then he buries his face in the shirts in a gut-wrenching embrace. As he leaves, she brings him a paper bag to carry the shirts, looking up to him with eyes of benediction.

At times Ennis tries to recapture a domineering, violent masculinity as a balm for his repression. During a Fourth of July celebration in a park with his wife and infant daughters, he challenges two bikers who intrude on the family with loud, raunchy innuendos about finding women in the crowd. After he succeeds in chasing them off, a low-angle shot silhouettes him against a black night sky alight with red bursts of fireworks.

The image is ambiguous. The man who defeats the marginal but still macho characters represents the forces of middle-class respectability which dictate that men protect women, but he is also the man who is tortured by his inability to fully love a man. To use R. Hegemonic masculinity, especially its violence, seems to be constructed by a desire to deaden the pain of subordinated masculinity.

This time he loses and is left lying beaten and wounded in the street. In fact, it is silence and wind that dominate the movie, and, along with the spare musical score, create an emotional undertow of lonely lament. Their interaction is minutely observed and skillfully wrought, with the smallest expressions and gestures carrying intimate weight. Once they reach the mountains, this initial conversation is followed by a sequence of small slice of life conversations about the rodeo, about their shepherding arrangements, and about their families.

There are other more obvious scenes-—Jack crying while driving away from a surprise visit to Ennis after getting a postcard about the divorce, the two sex scenes, the reunion kiss, the motel scene, their last meeting by the lake, the last scene of the movie with Ennis alone—and while some of these orchestrate larger emotions, all of them are constructed in a precise, economical manner which reveals a perilous emotionality. At the end of that first summer on Brokeback, in a scene back on the town road in front of the trailer where they met, Ennis must use self-inflicted anger and disgust to suppress his grief at leaving Jack.

Walking away from their laconic goodbye, he darts into an alley to vomit and pound the wall. This quality of emotional explicitness sets the film apart from other romances, but really only insofar as it involves men longing and suffering for each other. The barriers of male distance, of male coolness, and of competition are broken not just by jocund camaraderie, so common in contemporary popular culture, but also by male smiles and male tears. To see how these elements rewrite classical romantic love narratives, including the more derivative modern romance novel narratives, consider the common emotional position of men and women in such stories: Neither Ennis nor Jack fully embodies these abstracted character roles.

While Ennis is reluctant, both wait; while Jack is assertive, Ennis can be brutal and violent, and neither role requires the kind of care Jack gives Ennis. Neither speaks an expressive verbal language of love: Marginalized masculine figures such as cowboys and bikers have functioned as aspirations for hegemonic men.

Therefore, if one asks if the film merely uses the cultural authority of romance narratives with the presentation of love as illicit, sweeping, passionate, and uncontrollable, the answer is yes, but that is not the whole story. Daniel Mendelsohn, for example, wants us to acknowledge the film as a gay story, not a love story, specifically:.

Their tragedy. So much, at any rate, for the movie being a love story like any other, even a tragic one. Both of these views suffer from failing to consider the audience reaction as I do in this section, and from a sharp divide between Hollywood and avant-garde, as though no melodrama has ever challenged social placidity. Finally, the movie speaks not just to the condition of the homosexuality, as Miller believes, but also to the cultural politics of romantic love in general.

Yet even the tragedy of these constraints does not make it a uniquely gay story. Consider that such self-repression is not exclusive to gays and lesbians, since both women and people of color have had to live with and sort through internalized misogyny and racism. Some have insisted Ennis and Jack are bisexual, or that only Jack is truly homosexual.

What is clear is that both sleep with and marry women, but their greatest pleasure comes from each other, even if they sleep with other men. The actor Heath Ledger has described the relationship this way: Nevertheless, it is still a story of two men. By de-emphasizing it as a love story, Mendelsohn risks failing to understand its power—its play with romantic tropes and its deep appeal to a fervent group of fans with varying sexualities.