Brokeback Mountain Forum @ ennisjack.com
The Movie & Story => AP Short Story & Screenplay => Topic started by: Walford on Jan 21, 2006, 01:35 AM
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It's been about 2 years since I first read Brokeback Mountain, and tonight I finally got to see the movie I've been anticipating almost that long. I'm hoping I didn't set my expectations too high, because the short story affected me deeply. I've probably read it a dozen times at least, and I fear I sat through the movie judging it against the book. But, I'll wait for the "boomerang effect" so many people describe before making a final judgment.
My first disappointment in the movie was the failure to develop the emotional intimacy Jack and Ennis shared even before they ever had sex. The book makes clear Ennis's emotional transformation in Jack's company with the line, "Ennis, riding against the wind back to the sheep in the treacherous, drunken light, thought he'd never had such a good time, felt he could paw the white out of the moon." The movie does not reveal the deep friendship which was the foundation for their love the way the book does. However, it's possible this was done purposefully to demonstrate another device in the book which would otherwise be hard to translate to film. In the motel scene the movie instantly makes clear that they had been deeply and romatically in love (as did the kissing scene in front of Ennis's apartment) for all four years, but neither, at least not Ennis, had realized it until then. I suppose that if Lee had depicted E & J having "the time of their lives" on Brokeback as the book does, it would not have been apparent to the audience that Ennis didn't know it at the time.
I have to give HUGE applause to the scene where Ennis threatens to kill Jack. This is my favorite passage from the book, and I probably put more importance on Lee getting this one scene right than any other. I had read online about Ennis's line, "Why don't you just let me be? Because of you, Jack, that I'm like this. Nothing. Nowhere." That bothered me a lot, because Ennis's silent response to Jack's emotional outburst (in the book) was the one shot Lee HAD to get perfect, and he apparently completely changed it. HOWEVER, I was not IN THE LEAST disappointed. Ennis's complete emotional breakdown, his anguish, his attempt to push the consoling Jack away, finally clinging to Jack's comforting arms, speak volumes more about Ennis's internal turmoil than Annie Proulx had been able to express in those two paragraphs, and as I said, that is my FAVORITE part of the book. McMurtry, Ossana and Lee had a VERY high hurdle to clear, and they NAILED it.
I leave it there for now, until the movie has had more time to sink in. Anybody else have any thoughts on how the book and movie measure up to one another?
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My experience is the opposite of yours. I saw the movie for the first time last week, then again yesterday. Afterwards, I went straight to the bookstore and bought the short story and proceeded to read it.
I agree that the movie does not portray the deep friendship between the two men as conveyed in the book. In retrospect, it feels as if the movie rushed through the relationship on the mountain. I got a much stronger feeling of what they meant to each other from the book.
If I had to decide, I would have to say I prefer the movie version. Don't get me wrong, the book is quite powerful. I also tend to prefer books to movie adaptations. However, to me the movie was such a complete work of art. The screenplay is amazing. It is not an exact representation of the book, but takes specific scenes/events from the story and expands on them. Whereas the book more successfully conveyed the deep friendship on the mountain, the movie revealed more about the men themselves. The movie offered a more complete package, from the acting, music, scenery, etc. It was overall a more emotional experience.
I also agree that the final exchange between the two men is the best part of the movie. Starting from the verbal exchange leading to the embrace, and then into the flashback sequence and finally back to the present time. The touching moment when Ennis grasps onto Jack in tears, you can sense his pain and anguish. Then contrast that to the flashback, where Ennis approaches Jack from behind and embraces him. The scene is so tender and you can sense that they have no cares in the world, just a deep love and friendship. Pure innocence and youth. It ends with Ennis riding off on his horse. This is then contrasted back to the present time. We see Jacks face and its obviously aged and pained. He watches as Ennis drives away this time. The power of this moment speaks volumes to me. The love transformed from carefree innocence to painful devotion.
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Another thing I missed in the translation was how Ennis called Jack "little darlin'" at their reunion, a term of affection he usually reserved for his horses and daughters. Before seeing the movie, I imagined Ennis would use the phrase for his horse a few times on the mountain, then again with his daughters, and then on the landing at the apartment with Jack, and I thought it would have made quite a powerful impact.
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Another thing I missed in the translation was how Ennis called Jack "little darlin'" at their reunion, a term of affection he usually reserved for his horses and daughters. Before seeing the movie, I imagined Ennis would use the phrase for his horse a few times on the mountain, then again with his daughters, and then on the landing at the apartment with Jack, and I thought it would have made quite a powerful impact.
I think because in the book they would explain how what it meant to Ennis to say that it worked, but in the movie it wouldn't have.
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I think that's what I like about the movie best. It's so damn faithful, but leaves a few things just for the written story. The story soars with some of its prose that's not present in the movie, and the movie soars with things not in the story... and there's only just enough of those differences to give each its own unique "flavor".
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Another thing I missed in the translation was how Ennis called Jack "little darlin'" at their reunion, a term of affection he usually reserved for his horses and daughters. Before seeing the movie, I imagined Ennis would use the phrase for his horse a few times on the mountain, then again with his daughters, and then on the landing at the apartment with Jack, and I thought it would have made quite a powerful impact.
I think because in the book they would explain how what it meant to Ennis to say that it worked, but in the movie it wouldn't have.
I have to disagree. All we would need is to hear Ennis, who never says much of anything, call his horses and his girls "little darlin'" a couple of times, and the impact of calling Jack by the same endearment would have been more powerful than even in the book.
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Another thing I just realized... Jack says, "Sometimes I miss you so much I can't stand it," when in the book he says he misses Ennis enough to "make him whip babies." Another example of Proulx's harsh prose that didn't make the final cut.
Oh well. If wishes were fishes, we'd all be swimming. BBM is still the closest-to-perfect adaptation of any written word to the screen I've ever seen. Ossana and McMurtry are a LOCK for Best Adapted Screenplay, if BBM doesn't receive any other Oscars.
It ain't prefect, but if you can't fix it, you've got to stand it. ;D
That's a lie. I don't simply stand it; I love it.
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Here are a few examples where the movie matches or exceeds the beauty of the original prose story. I quote from the online version. I will also concentrate on scenes preceeding the first love scene.
I.
Ennis and Jack, the dogs, horses and mules, a thousand ewes and their lambs flowed up the trail like dirty water through the timber and out above the tree line into the great flowery Meadows and the coursing, endless wind.
My Comments: Ang Lee's lyrical cinematography captures the ascent up the mountain most wonderfully.
II.
During the day Ennis looked across a great gulf and sometimes saw Jack, a small dot moving across a high meadow as an insect moves across a tablecloth; Jack, in his dark camp, saw Ennis as night fire, a red spark on the huge black mass of mountain.
My Comments: Exquisitely realized in the movie. Ennis' campfire is seen by Jack, and a comforted smile lights his face. Ennis washing the coffee pot by the stream and eyes Jack, a little moving speck against the backdrop of mountain and ominous clouds.
III.
"Tell you what, you got a get up a dozen times in the night out there over them coyotes. Happy to switch but give you warnin I can't cook worth a shit. Pretty good with a can opener."
My Comments: I cite this passage specifically for the wonderful faux-pas from Gyllenhaal in a later scene when he fails to pry open the can of beans cleanly and ends up spattering himself with tomato sauce. This is a faux-pas because THE SCREENPLAY GIVES NO INDICATION THAT GYLLENHAAL IS TO DO THIS. Gyllenhaal must have been caught entirely off guard by this mistake, but his all-too-candid reaction (captured beautifully on screen) gives the entire scene an air of light humour and priceless sponteneity that improves on both text and screenplay.
IV.
"Well, I'm goin a warsh everthing I can reach," he said, pulling off his boots and jeans (no drawers, no socks, Jack noticed), slopping the green washcloth around until the fire spat.
My Comments: As I mentioned elsewhere, Gyllenhaal's portrayal of Jack in this scene -- a gulp coursing down his throat, the subtle tightening of the jaw, and trying SO SO hard not to look full-face at a naked Ennis -- is one of his best moments in the entire film.
V.
They had a high-time supper by the fire, a can of beans each, fried potatoes and a quart of whiskey on shares, sat with their backs against a log, boot soles and copper jeans rivets hot, swapping the bottle while the lavender sky emptied of color and the chill air drained down, drinking, smoking cigarettes, getting up every now and then to piss, firelight throwing a sparkle in the arched stream, tossing sticks on the fire to keep the talk going, talking horses and rodeo, roughstock events, wrecks and injuries sustained, the submarine Thresher lost two months earlier with all hands and how it must have been in the last doomed minutes, dogs each had owned and known, the draft, Jack's home ranch where his father and mother held on, Ennis's family place folded years ago after his folks died, the older brother in Signal and a married sister in Casper. Jack said his father had been a pretty well known bullrider years back but kept his secrets to himself, never gave Jack a word of advice, never came once to see Jack ride, though he had put him on the woolies when he was a little kid. Ennis said 3
the kind of riding that interested him lasted longer than eight seconds and had some point to it. Money's a good point, said Jack, and Ennis had to agree. They were respectful of each other's opinions, each glad to have a companion where none had been expected.
My Comments: The screenplay, of course, abbreviates the subjects both men discuss in this scene. The talk revolves exclusively around Jack's unhappiness with his father, and Ennis' sad upbringing. But the screenplay adds the wonderful exchange beginning with Jack saying 'Friend, that's more words you've said in two weeks...' [my paraphrase]. In this exchange, you see -- for the first time -- looks of very deep affection exchanged by the two men. The 'rodeo scene' that concludes this sequence in the screenplay is indeed very light and quicksilver -- it enforces the ever deepening familiarity and affection the two have for each other.
VI.
Ennis knew the salty words to "Strawberry Roan." Jack tried a Carl Perkins song, bawling "what I say-ay-ay," but he favored a sad hymn, "Water-Walking Jesus," learned from his mother who believed in the Pentecost, that he sang at dirge slowness, setting off distant coyote yips.
My Comments: The screenplay version and movie realization of this scene is priceless. The wonderful tune of "Water-Walking Jesus" (composed by Larry McMurtry's son, I believe) is gorgeous, and Gyllenhaal's earnest and raspy rendition is very apt indeed. Finally, the 'Pentecost' screenplay additions are wonderful. The last line declaimed by Ledger: 'You may be a sinner, but I ain't had the opportunity' [again, my paraphrase] leads directly into the first love scene, injecting an underlying element of the 'forbidden' and 'sin' against the backdrop of the first realization of physical love.
Feel free to comment on the above. I do feel, though, that the bond between the two men were indeed successfully developed in the initial scenes on Brokeback Mountain -- but in a way that is very subtle and exquisitely understated.
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wow..tpe, that's great... I have to go for my 3rd viewing....
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wow..tpe, that's great... I have to go for my 3rd viewing....
Thanks tweric. I really think there are so many subtleties in this movie. It takes a while to take everything in, even after multiple viewings... :)
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I like the development of the relationship with Ennis' daughters in the movie. In the book, I don't get much of a sense of closeness between them, and I just think it works really well in the movie. It balances Ennis' character and choices. Plus the last scene was so beautiful with alma jr.
To be honest, I do like the "prettying" up of the cowboys in the movie vs the short story. It may not be the truest thing - but mmmm.
Yeah, I'd like to have heard the "little darlin" and "whip babies" lines. But would they have worked as beautifully as they did in the short story ???
Oh, they're both perfection in their own way.
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I just read the story. I had read it years ago and did not think much of it in fact, it was not a short story that I really cared about one way or anohter.
I have to say that IF I had read the story FIRST I might not have gone to see the movie.For me the story is not nearly as gold as the movie. Heath Ennis and the rest of the characters were just too down and out, and it was sll so depressing and uncouth.
I guess in my mind readjng the story I pictured these two cowboys as unkept old geezers
The other thing is a ls some of what was in the story was not in the movie, such as the FIL dying .No biggie but it did take me on another course earlier.
Bottom line I love the movie, still cannot stop thinking about it, but the story, well it was really not for me.
i think I needed the beauty of these two guys to get me going,and then fall in love with this wonderful film.
Odd,huh?
J
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I agree with you.
In the story it's true, they are rather unappealing, vulgar, homely, unattractive to say the least; not really the type of boys to whom you would give much attention. But then there was Heath Ledger an Jake Gyllenhaal - not quite the same is it?.
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Had you read the story before the movie?
I think the reason this movie is making it big is because the guys are such HUNKS !
J :) :) :) :) :) :) :) :)
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Had you read the story before the movie?
I think the reason this movie is making it big is because the guys are such HUNKS !
J :) :) :) :) :) :) :) :)
no, read it after, in English, and like the movie, the French translation leaves a little to be desired. The French translation here is horrible - ridiculous accents, inappropriate vocabulary , poor dubbing (lip movement and words don't match, etc)
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I love both. As I mentioned in another thread, the story is more visceral than the movie, but the movie struck me as more lyrical.
natalia had noted in a separate thread that there appears to be some sort of progression in the stories of the collection 'Close Range'. Although some of the stories were initially published separately, one is indeed struck by the sequencing of the collection. 'Brokeback Mountain' is of course, the final story. In my opinion, it is a fitting end to the collection, as it combines raw power and lyricism in a way that comes as a summation of many themes in the other stories.
But both story and movie stand by themselves. They can be appreciated for both the subtle differences as well as the faithful compatibilities...
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But both story and movie stand by themselves. They can be appreciated for both the subtle differences as well as the faithful compatibilities...
Yes . To me though the movie was much more beautiful in all ways.
J
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But both story and movie stand by themselves. They can be appreciated for both the subtle differences as well as the faithful compatibilities...
Yes . To me though the movie was much more beautiful in all ways.
J
The movie is indeed VERY poetic, particularly in those scenes where not a single word is even said or exchanged.
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I would say that the first time I saw the movie, I largely missed any indication that Jack and Ennis were developing more than a casual friendship prior to that first tent love scene. I know Oprah made the same observation in her interview with the cast earlier today. And so that scene comes as something of a shock to some viewers. I needed to read the story to get a better picture of their developing mutual trust and affection. I think the movie's screenplay does more to highlight their previous sense of loneliness and isolation, part of the driving force that brings them together emotionally.( I should note here that I have not yet had the opportunity to read the screenplay, I am merely speculating from what i observed on the screen.)
I also loved the story's depiction of their singing to each other and the beautiful touch of Jack's singing setting off coyote yips, and I miss that in the movie. Of course this is very minor quibbling, and besides, maybe Ledger can't sing well enough to pull it off, and a dubbed in voice DEFINITELYwould not work.
But I'm also blown away by the degree to which both the story AND the movie invite and even demand close reading/viewing to really appreciate all the nuances and the craftsmanship on display.VERY,VERY powerful stuff!! And so I note with relish the points tpe made above, and will be watching for these nuances the next time I see the movie.
BTW, at this time I am anticipating that will be when the DVD becomes available. I need to take an emotional breather for now. UNLESSof course some friend tries to convince me otherwise. -Go ahead (jack) twist my arm!! ::)
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It's been about 2 years since I first read Brokeback Mountain, and tonight I finally got to see the movie I've been anticipating almost that long. I'm hoping I didn't set my expectations too high, because the short story affected me deeply. I've probably read it a dozen times at least, and I fear I sat through the movie judging it against the book. But, I'll wait for the "boomerang effect" so many people describe before making a final judgment.
Walford. Good post. I saw the movie first, was stunned, saw it again, and ordered book and screenplay (with essays by Annie, McM and Ossana) as fast as UPS cd get them to me. I don't go to movies, and never even saw a screenplay. I now know them in much detail.
Which has led to some pages of notes as I try to work out why the movie/story is whacking away at me at so many points.
One result is a list of comparisons that I found more important (with page numbers LOL). I'll refine them and get back.
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I agree that the story and screenplay each stand on their own merits, one is not better than the other.
I read the story first. I agree that the personality development was different in each.
The film was not as "explicit" as the story in the sex scenes (that I thought were in *no way* pornographic in the first place) and I struggle with the screen writers' motivation for leaving that out. The story to screenplay book gave no hint of an explanation and I suspect, neither will the DVD interviews. I speak further about this in the "Gun's goin' off" thread and will in others.
After my first showing, I left the theater with mixed feelings. I had to see it again to see if I missed anything. I didn't, it simply isn't there.
Although I will add the DVD to my collection, I felt disappointed when I left the theater both times and that is why I advise everyone to see the film first and then buy the short story in order to "fill in the blanks."
I wish the film all the best with AMPAS but it and the short story are definitely 2 different works of art.
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The book is Ennis, the movie is Jack.
They complement each other - the book is spare, of few words, but well chosen words that say a lot. The book lies there, its depths not apparent until you open it up, and then you see what pain it contains, and what love it has known; the movie comes right up to you, arms open, and says "Tell you what, here's what happened on Brokeback." -- it wears a wide grin, speaks clearly, and surrounds you with emotion.
Know what I mean?
-backtobrokeback
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The book is Ennis, the movie is Jack.
They complement each other - the book is spare, of few words, but well chosen words that say a lot. The book lies there, its depths not apparent until you open it up, and then you see what pain it contains, and what love it has known; the movie comes right up to you, arms open, and says "Tell you what, here's what happened on Brokeback." -- it wears a wide grin, speaks clearly, and surrounds you with emotion.
Know what I mean?
-backtobrokeback
Thankx..yes I know what you mean...the short story was my first BBM experience, even before the trailer..and that's how my addiction started!
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I would say that the first time I saw the movie, I largely missed any indication that Jack and Ennis were developing more than a casual friendship prior to that first tent love scene. I know Oprah made the same observation in her interview with the cast earlier today. And so that scene comes as something of a shock to some viewers.
Well, to me it was loud and clear from the first moment the two laid eyes on each other that there was a major sexual spark--and it just escalated from there. The first scene of them waiting to speak to Aquirre is nothing less than a master class in good ol' fashioned cruising. The sexual tension between the two of them is thick enough to cut with Jack's straight-edge razor. Especially on Jack's side, the cruising is pretty blatant -- that first long stare/glare of his, then the peeking at Ennis in the mirror as he shaves, etc. Ennis notices all this--he reacts shyly, looking down all the time, as though afraid to have a look himself. In addition, from this moment until the first tent scene, there are innumberable sexual innuendoes through inflection and body language. With all that, I was surprised the frst sexual encounter didn't happener *sooner*.
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I wonder sometimes how people miss the connections that are being made between these two men, because I've only ever heard that comment from some straight people. I wonder if the way that men connect, flirt, send signals, whatever you call it, is just not as familiar - because it should be. It's how husbands and fathers and boyfriends communicate; it's how straight people do it. The main difference is that, if you're gonna be killed for it, you tend to 1) make the gestures as unobtrusive and ambiguous as possible and 2) read a LOT into the things you see from others.
I've also heard that the first part of the film is "slow", or that it's just "pretty scenery and working with sheep" and then BAM the tent scene. Frankly, the book presents it just as abruptly, and there is that element of "what the hell is happening here?!" for both Ennis and Jack. That came across well in the way they embrace, then bolt apart, then grasp each other, fumbling with clothes, and then, after the sex, promptly pass out til the next morning. But that didn't come out of nowhere.
Notice in the film how Ennis responds to each of Jack's openings - his introduction, his jab about "did your folks just stop at Ennis", his invitation to a drink, his questions about Ennis's family. And yet, because it's all new to him, he responds as he might to any other ranch hand who was outgoing - minimally.
Then notice how they interact on the mountain - Ennis has found someone who understands hard work, privation, and the struggle to stay afloat and improve yourself. He begins to watch Jack more carefully - by the fire, as Jack rides off to the sheep, as Jack tends sheep on the mountain -- even from far away, Ennis is watching. The looks they give each other get longer (Jack's always being more intense and longer-held.)
Then the real tipping point - Jack asks about Ennis's family by the fireside, and Ennis tells the whole story. Jack is stunned. He simply stares at Ennis, until Ennis says "What?", and then replies "Friend, that's the most words you've spoken in two weeks." Ennis's very telling reply: "That's the most words I've spoken in a year." Opening up to a new friend, bonding, right there in front of you.
Following this is Ennis's first real overture to Jack - a subtle dig at Jack's chosen 'profession' of rodeoing. "My daddy used to say them rodeo riders is all f***-ups" - a comment which stymies Jack, who responds with "the hell they are!" Ennis drags it out further, apparently enjoying pulling Jack's leg, until Jack realizes what Ennis is doing. He then does his "rodeo f***up" imitation to Ennis' GREAT amusement - his first real smile -.
We could add into this some other moments, all subtle, but then they are there in the film for a reason, right?
1) Ennis describing the wolf with balls as big as apples
2) Ennis bathing naked six feet from Jack
3) Jack repeatedly wishing they could be together in the camp
4) Ennis admitting that he'd 'not yet had the opportunity'
5) Ennis's teasing about Jack's harmonica skills
6) Jack sharing how he felt his father had ignored him
From my point of view, they spent that summer first becoming friends, "finding companionship where none had been expected", then Jack, the more adventurous, feeling it was safe to take a chance, did. Ennis acted on the moment, in the tent, but then quickly returned. He maintained the "one time thing" for the rest of the summer. For Ennis, this is a profound change - he has found not only companionship with a man who understands him, but love with a man who WANTS him. NOTHING in his life has prepared him for this, so on top of the natural horniness that might have led to something very different in the tent, he feels the touch of another man, and the affection that man feels for him. It's a powerful combination.
-backtobrokeback
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I wonder sometimes how people miss the connections that are being made between these two men, because I've only ever heard that comment from straight people. I wonder if the way that men connect, flirt, send signals, whatever you call it, is just not as familiar - because it should be. It's how husbands and fathers, and boyfriends communicate; it's how straight people do it.
I don't understand how people have missed the connections, also. During the scene where Jack decides to shave before asking about the job, when he looked in the truck's rear-view mirror, and adjusted it to see Ennis better, I heard a whipsered, "Aha..." from my husband, indicating, to me, that he knew exactly what Jack was doing, and that it had nothing to do with shaving. It was what a straight guy would do if he saw a woman he was interested in. So either the people that you've heard that comment from are lying, or are really clueless about being subtle in their actions when interested in someone. I hope I don't sound accusatory; that's not my intention at all. It's just hard to believe that someone can miss the clues indicating a sexual interest.
Then notice how they interact on the mountain - Ennis has found someone who understand hard work, privation, and the struggle to stay afloat and improve yourself. He begins to watch Jack more carefully - by the fire, as Jack rides off to the sheep, as Jack tends sheep on the mountain -- even from far away, Ennis is watching. The looks they give each other get longer (Jack's always being more intense and longer-held.)
Then the real tipping point - Jack asks about Ennis's family by the fireside, and Ennis tells the whole story. Jack is stunned. He simply stares at Ennis, until Ennis says "What?", and then replies "Friend, that's the most words you've spoken in two weeks." Ennis's very telling reply: "That's the most words I've spoken in a year. Opening up to a new friend, bonding, right there in front of you.
Following this is Ennis's first real overture to Jack - a subtle dig at Jack's chosen 'profession' of rodeoing. "My daddy used to say them rodeo riders is all f***-ups" - a comment which stymies Jack, who responds with "the hell they are!" Ennis drags it out further, apparently enjoying pulling Jack's leg, until Jack realizes what Ennis is doing. He then does his "rodeo f***up" imitation to Ennis' GREAT amusement - his first real smile -.
We could add into this some other moments, all subtle, but then they are there in the film for a reason, right?
1) Ennis describing the wolf with balls as big as apples
2) Ennis bathing naked six feet from Jack
3) Jack repeatedly wishing they could be together in the camp
4) Ennis admitting that he'd 'not yet had the opportunity'
5) Ennis's teasing about Jack's harmonica skills
6) Jack sharing how he felt his father had ignored him
From my point of view, they spent that summer first becoming friends, "finding companionship where none had been expected", then Jack, the more adventurous, feeling it was safe to take a chance, did. Ennis acted on the moment, but then quickly returned to maintain the "one time thing" for the rest of the summer. For Ennis, this is a profound change - he has found not only companionship with a man who understands him, but love with a man who WANTS him. NOTHING in his life has prepared him for this, so on top of the natural horniness that might have led to something very different in the tent, he feels the touch of another man, and the affection that man feels for him. It's a powerful combination.
-backtobrokeback
Wonderful analysis, btb. Thank you.
In fact, I can't imagine what it would be like to have seen the movie without reading the stroy.
Hubby and I saw "Proof" starring Jakey last night and besides observing how gorgeous he is (hubs has no qualms about doing that, which is rather unusual for a straight guy), hubs made a comment about BBM and Jack (hell if I can remember what it was specifically) to which I answered that it was in the story. It made me realize how much the story helps to fill in the movie, and vice versa. Maybe that's why I can't remember what he asked/said, because the realization that movie and story complement one another so well was really like a revelation, and that there is something missing if you don't have both pieces. Like Ennis and Jack.
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<SNIP>
Following this is Ennis's first real overture to Jack - a subtle dig at Jack's chosen 'profession' of rodeoing. "My daddy used to say them rodeo riders is all f***-ups" - a comment which stymies Jack, who responds with "the hell they are!" Ennis drags it out further, apparently enjoying pulling Jack's leg, until Jack realizes what Ennis is doing. He then does his "rodeo f***up" imitation to Ennis' GREAT amusement - his first real smile -.
1) Ennis describing the wolf with balls as big as apples
4) Ennis admitting that he'd 'not yet had the opportunity'
5) Ennis's teasing about Jack's harmonica skills
<SNIP>
-backtobrokeback
Thank you for expanding on my point, btb, about all the many early signals of the Inevitable. Ennis's overtures are largely delivered via humor (such as the examples above you mention), because it's the only way he knows how to express his attraction at this juncture. His teasing is very sexy ... to me, at least. ;).
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<SNIP>
Following this is Ennis's first real overture to Jack - a subtle dig at Jack's chosen 'profession' of rodeoing. "My daddy used to say them rodeo riders is all f***-ups" - a comment which stymies Jack, who responds with "the hell they are!" Ennis drags it out further, apparently enjoying pulling Jack's leg, until Jack realizes what Ennis is doing. He then does his "rodeo f***up" imitation to Ennis' GREAT amusement - his first real smile -.
1) Ennis describing the wolf with balls as big as apples
4) Ennis admitting that he'd 'not yet had the opportunity'
5) Ennis's teasing about Jack's harmonica skills
<SNIP>
-backtobrokeback
Thank you for expanding on my point, btb, about all the many early signals of the Inevitable. Ennis's overtures are largely delivered via humor (such as the examples above you mention), because it's the only way he knows how to express his attraction at this juncture. His teasing is very sexy ... to me, at least. ;).
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His teasing is very sexy ... to me, at least.
And that's the understatement of the year!
It's warm and honest teasing - it's explorative, tentative, and for him, (despite it being a familiar mode of approach to people) a real risk-taking adventure. He has no idea how Jack, a stranger, will react, but he feels comfortable around Jack, and that's a new feeling for him. Jack does the same with his harmonica playing - it may not sound good, but it gets Ennis goin'. Notice the big grin he gives (which Ennis can't even see) while Ennis is fixing the tent and griping about the broken harmonica.
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There's a point in the story that I like very much (among others)
It's during the reunion, when they're speaking to Alma:
Jack and Ennis touch each other hands and feel like an electric shock,
and Jack is described as looking like an exahusted horse, trembling so hard that Ennis can feel it..
I love that scene in the movie...but I would like they had kept it exactly as the one in the story.
P.S.
If someone was so kind to post that part of the story (I have the italian version) I'll be grateful to him/her for ever.
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P.S.
If someone was so kind to post that part of the story (I have the italian version) I'll be grateful to him/her for ever.
The door opened again a few inches and Alma stood in the narrow light.
What could he say? "Alma, this is Jack Twist, Jack, my wife Alma." His chest was heaving. He could smell Jack -- the intensely familiar odor of cigarettes, musky sweat and a faint sweetness like grass, and with it the rushing cold of the mountain. "Alma," he said, "Jack and me ain't seen each other in four years." As if it were a reason. He was glad the light was dim on the landing but did not turn away from her.
"Sure enough," said Alma in a low voice. She had seen what she had seen. Behind her in the room lightning lit the window like a white sheet waving and the baby cried.
"You got a kid?" said Jack. His shaking hand grazed Ennis's hand, electrical current snapped between them.
"Two little girls," Ennis said. "Alma Jr. and Francine. Love them to pieces." Alma's mouth twitched.
"I got a boy," said Jack. "Eight months old. Tell you what, I married a cute little old Texas girl down in Childress -- Lureen." From the vibration of the floorboard on which they both stood Ennis could feel how hard Jack was shaking.
"Alma," he said. "Jack and me is goin out and get a drink. Might not get back tonight, we get drinkin and talkin."
"Sure enough," Alma said, taking a dollar bill from her pocket. Ennis guessed she was going to ask him to get her a pack of cigarettes, bring him back sooner.
"Please to meet you," said Jack, trembling like a run-out horse.
"Ennis -- " said Alma in her misery voice, but that didn't slow him down on the stairs and he called back, "Alma, you want smokes there's some in the pocket a my blue shirt in the bedroom."
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Thank you, dear :-*
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Thank you, dear :-*
Di niente ;)
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I don't understand how people have missed the connections, also. During the scene where Jack decides to shave before asking about the job, when he looked in the truck's rear-view mirror, and adjusted it to see Ennis better, I heard a whipsered, "Aha..." from my husband, indicating, to me, that he knew exactly what Jack was doing, and that it had nothing to do with shaving. It was what a straight guy would do if he saw a woman he was interested in. So either the people that you've heard that comment from are lying, or are really clueless about being subtle in their actions when interested in someone. I hope I don't sound accusatory; that's not my intention at all. It's just hard to believe that someone can miss the clues indicating a sexual interest.
Yeah a guy undresses an attractive woman with his eyes so any straight guy should see it. Jack was undressing Ennis with his eyes through the side mirror under the pretense of shaving. Straight cruising/gay cruising - it's not that different.
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He could smell Jack -- the intensely familiar odor of cigarettes, musky sweat and a faint sweetness like grass, and with it the rushing cold of the mountain.
I've always liked that sentence - it's a powerful description. You can smell it. Another one is the first description of their room in the Motel Siesta:
The room stank of semen and smoke and sweat and whiskey, of old carpet and sour hay, saddle leather, shit and cheap soap.
I'm primarily a reader and I read BBM long before the movie came out. It's always interesting so see how faithfully a screenwriter is able to adapt a piece of literature and McMurtry and Ossana did very well. With the short story you have to use your imagination - with movies they are there in front of you.
Reminds me of the old story about the early days of television. A young kid was asked which he liked more, radio or TV. He said he liked the radio more - because the pictures were better.
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I won't take time to make the comparisons between the book, the screenplay and the movie; but, the screenplay made some changes in the original story and then in turn, the movie's script made some changes in the screenplay.
And, since Larry McMurtry admitted that he added women to Annie Proulx's original story in a Time magazine interview, I think that he overdid it and added to much heterosexual activity to the original story.
In the book, Lureen only talks one time and that is when Ennis called Jack's Childress, Texas, phone number after getting the postcard with "DECEASED" on it. Other than that one scene, no body outside of Wyoming talks.
All of the direct quotes conversation in the book have Ennis being one of those who is speaking. Jack does quote Aguirre when the boys are in the room at the Motel Siesta when he and Ennis are talking.
Oh, Jack Twist NEVER worked for Lureen's father. And after his father-in-law died, Lureen inherited the company and gave Jack a vague managerial title. Jack did not sell farm equipment; he bought it.
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I won't take time to make the comparisons between the book, the screenplay and the movie; but, the screenplay made some changes in the original story and then in turn, the movie's script made some changes in the screenplay.
TJ,
Those are good points. It has always been my contention that the screenplay not only adds to the story but subtracts as well. As others have said as well, a great deal of attention was given to developing the female characters.
The raw sexuality in the short story and blatently evident in heterosexual films for over a decade is suprisingly and suspiciously absent in the screenplay for Brokeback Mountain. I talked about this in another thread but the first most obvious is Jack's "Gun's goin' off" gasp at the height of his orgasm in the tent scene (short story p-14). It would have had no effect on the film's rating nor turn it into a "gay porn scene." Not including it made this scene appear more "animalistic" instead of 2 men experiencing pleasure. Overall, that may have been Anne's intent but she included the "gun's goin' off" to make it more human and show that not only Ennis was having all the fun. ::)
See also page 12 of the short story (in the screnplay to short story book):
"Ennis lay spread-eagled, spent and wet, breathing deep, still half tumescent . . ."
I know Hollywood is scared of showing a penis in anything but a full flaccid state but they do still show them. They were shown in Brokeback Mountain only from a distance when the actors jumped off the cliff (but we never saw them frolicking or kissing while they were in the water, did we?) Most recently, remember the scene shot from behind Colin Farrell in Alexander as he was getting in bed just before motioning to his male lover to join him? That movie had a great deal more suggestiveness all the way around but was welcome from the "main stream" movie-going public.
Finally, although I understand that the kissing in the beginning would have been awkward for 2 straight men who had not made love to another before but in the short story Anne made some specific references to how powerful the kisses were in later years. The one at their first reunion even drew blood. However, I don't remember seeing a lot of close-ups of kissing in the movie.
I just viewed PROOF (Gwyneth Paltrow, Anthony Hopkins, Jake Gyllenhaal) and the kissing between Jake and Gwyneth was much more believeable. I don't recollect any close up shots of Ennis' and Jack's lips locking, like top lip over bottom lip. It was as if the camera were afraid of getting too close. Any one else have that observation?
Nevertheless, both the short story and the screenplay each have their own strengths as does the final movie print.
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I've thought about the "Gun's goin' off!" line, because I missed it. I think that if it had been included, it would have produced a big laugh from the audience, and that in turn would have broken the intensity of that moment and for "those new to the idea of mansex" it would have given them an exit, a way to get out of that tent, and thus dismiss the sex, and the sexuality behind it. By not giving a way to vent, that scene sticks with people, really hits them.
I don't think there was a chance in heaven of us getting any "jouncing the mattress", let alone a "half-tumescent" Heath Ledger. Not gonna happen. That scene was cut short in two ways, (sex and the conversation too), because both McMurtry/Ossana and Ang Lee had other ideas for it. The question is, what kind of effect would it have had on the movie, other than to get it an NC-17 rating, an "unrated cut", and no theater contracts? Much as we feel gay sex on screen is a non-issue, it IS an issue. Wrongly, I agree, but there you are. Have other "gay films" been explicit? Jeffrey? My Own Private Idaho?
btb
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The main thing I miss in the movie that I simply loved in the book was the power of Ennis' speaking to jack in the motel room. I really miss ennis not opening up more and telling Jack about his reaction to their separation. About his puking his guts out, and His line about "Took me a year to realize I never should have let you get out of my sight" just strikes me, I wanted to see it---and when I didn't I missed it!
The last scene together is powerful too--but I have to say I love the book more than the movie here, because I think it would stand even more powerful without Ennis declaring that Jack should leave him alone.
but with or without the dialog, the whole scene of ennis' collapse is so moving that it stands by itself both way almost equally.
I do love the scene by the fire, when Ennis is looking at the stars---and he is talking about his prayer of thanks. that isn't in the book, but it adds so much to the movie--even though you know he isn't thinking about the harmonica at all.
I think the movie stayed as close to the book as it could and did a masterful job of it.
I love both equally---I am glad I have the book, am glad I have seen the movie more than once, and will be estatic when I can have the dvd in my home.
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One incredibly touching scenes in the movie (as well as the screenplay--but NOT in the short story) is the second time in the tent. Ennis sits alone by the fire, while Jack is in the tent getting ready for bed. Ennis does not go up to the sheep--he looks over and thinks about what he wants to do. he gets up and enters the tent. Jack takes his hand, says 'it's alright', and kisses Ennis.
Such a contrast to their first encounter--and one of the most powerful scenes in the movie/screenplay, in my opinion. It is tender, nurturing, loving and so very endearing. I think adding that scene was important on several levels. Ennis was so starved for affection but so torn with fear and shame. Jack was nurturing and reassuring/loving. Just incredible.
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In the motel scene, in 1967, a few were expressed in the short story that were not in the movie that kind of bothered me.
Ennis says to Jack that he has been thinking 'all this time' if he (himeslf) was gay--he says he know's he's not cause they "both got wives and kids"--then he says 'right?'
He says to Jack that he "likes doin it with women, but that 'ain't nothin like this. I never had no thoughts a doin it with another guy except I sure wrang it out a hundred times thinkin about you".
He asks Jack if he 'does it with other guys", to which Jack says "Shit, no---You know that".
Ennis goes on to tell Jack that when they parted, 4 years prior, that he pulled over with bad stomach cramps. He tells Jack "Took me a year a figure out it was that I shouldn't a let you out a my sights. Too late then--by a long, long while."
In the screenplay Jack tells Ennis about his return to Aguirre the following summer--looking for work and asking about Ennis. Jack says that "Maybe somebody seen us that summer--and tells him that Aguirre said "You boys found a way to make the time pass up there, didn't you?"
Now, it does say (in the short story) that Jack neglected to tell Ennis that Aguirre said, "You guys wasn't gettin paid to leave the dogs baby-sit the sheep, while you stemmed the rose".
Ennis was so afraid of being found out, and I think in the movie it would have added to his fear if he knew what Aguirre said--It may seem like a miniscule detail, but it adds strength to the depth of Ennis' fear and paranoia (which he does express at the final meeting).
Any thoughts?
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Oh I was just reading , in another thread, about Jack's anger in the 4 year reunion scene--when thet kiss outside the apartment--and the look on Jack's face. I have watched that scene very intently, and the look on Jack's face is so intense. Initially i thought of it as intense passion--as if he cannot believe he is seeing Ennis again (after 4 years). I think, after returning to Aguirre's, the summer following their sheepherding summer, Jack figured he would not be seeing Ennis ever again.
But perhaps there was anger there as well.
I have to read the ss and screenplay again as there are differences in the way Ennis comes down the stairs, taking them 'two at a time' (in the screenplay) --
to the way Jack 'took the stairs--two and two'. which implies Jack was flying UP the stairs to Ennis.
In the screenplay, Ennis 'looks around" and pulls Jack over to a secluded corner and "shoves him up against the wall".
Alma sees them, srom the upstairs door, and next, they have pulled away from one another and come up the stairs.
It was in the movie, that Ang Lee added/embelleshed the scene--and it is powerful!
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In the motel scene, in 1967, a few were expressed in the short story that were not in the movie that kind of bothered me.
Ennis says to Jack that he has been thinking 'all this time' if he (himeslf) was gay--he says he know's he's not cause they "both got wives and kids"--then he says 'right?'
He says to Jack that he "likes doin it with women, but that 'ain't nothin like this. I never had no thoughts a doin it with another guy except I sure wrang it out a hundred times thinkin about you".
He asks Jack if he 'does it with other guys", to which Jack says "Shit, no---You know that".
Ennis goes on to tell Jack that when they parted, 4 years prior, that he pulled over with bad stomach cramps. He tells Jack "Took me a year a figure out it was that I shouldn't a let you out a my sights. Too late then--by a long, long while."
In the screenplay Jack tells Ennis about his return to Aguirre the following summer--looking for work and asking about Ennis. Jack says that "Maybe somebody seen us that summer--and tells him that Aguirre said "You boys found a way to make the time pass up there, didn't you?"
Now, it does say (in the short story) that Jack neglected to tell Ennis that Aguirre said, "You guys wasn't gettin paid to leave the dogs baby-sit the sheep, while you stemmed the rose".
Ennis was so afraid of being found out, and I think in the movie it would have added to his fear if he knew what Aguirre said--It may seem like a miniscule detail, but it adds strength to the depth of Ennis' fear and paranoia (which he does express at the final meeting).
Any thoughts?
Hello HLJG!
I also think it works that Jack didn't tell Ennis. Jack was aware of Ennis's deep-seated fears, that to have told him about Aguirre would have possibly endangered Ennis agreeing to meet up with Jack in the future. I think jack appreciating Ennis's fears made it sort of logical that he hide things from Ennis, in the same way that he tried to hide his infidelities from Ennis later in the relationship.
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Oh I was just reading , in another thread, about Jack's anger in the 4 year reunion scene--when thet kiss outside the apartment--and the look on Jack's face. I have watched that scene very intently, and the look on Jack's face is so intense. Initially i thought of it as intense passion--as if he cannot believe he is seeing Ennis again (after 4 years). I think, after returning to Aguirre's, the summer following their sheepherding summer, Jack figured he would not be seeing Ennis ever again.
But perhaps there was anger there as well.
I have to read the ss and screenplay again as there are differences in the way Ennis comes down the stairs, taking them 'two at a time' (in the screenplay) --
to the way Jack 'took the stairs--two and two'. which implies Jack was flying UP the stairs to Ennis.
In the screenplay, Ennis 'looks around" and pulls Jack over to a secluded corner and "shoves him up against the wall".
Alma sees them, srom the upstairs door, and next, they have pulled away from one another and come up the stairs.
It was in the movie, that Ang Lee added/embelleshed the scene--and it is powerful!
I think someone has said elsewhere that in the ss, he/she got the sense that Jack and Ennis were aware that Alma saw them. What do you think?
The pertinent passage is:
They seized each other by the shoulders, hugged mightily, squeezing the breath out of each other, saying son of a bitch, son of a bitch; then, and as easily as the right key turns the lock tumblers, their mouths came together, and hard, Jack’s big teeth bringing blood, his hat falling to the floor, stubble rasping, wet saliva welling, and the door opening and Alma looking out for a few seconds at Ennis’s straining shoulders and shutting the door again and still they clinched, pressing chest and groin and thigh and leg together, treading on each other’s toes until they pulled apart to breathe and Ennis, not big on endearments, said what he said to his horses and daughters, “Little darlin.”
(Proulx, "Brokeback Mountain" 1997)
The interesting word here is "still". I think one can argue this both ways -- whether they were aware or unaware of Alma seeing them.
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I think someone has said elsewhere that in the ss, he/she got the sense that Jack and Ennis were aware that Alma saw them. What do you think?
The pertinent passage is:
It may have been me said this Thomas, but in any case, what makes me believe this is actually the next passage:
What could he say? "Alma, this is Jack Twist. Jack, my wife, Alma." His chest was heaving. He could smell Jack, the intensely familiar odor of cigarettes, musky sweat, and a faint sweetness like grass, and with it the rushing cold of the mountain. "Alma," he said, "Jack and me ain't seen each other in four years." As if it were a reason. He was glad the light was dim on the landing but did not turn away from her.
To me the key word is "reason". Reason for what? The reason they're actin' the way she just saw (sucking face), is 'cause they were in love. Ennis knows he's got to come up with something here because they were just found out IMHO, hence the "ain't seen each other . . . ". The movie never lets this cat out of the bag.
BTW I love this olfactory description of Ennis's perception Jack!
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It may have been me said this Thomas, but in any case, what makes me believe this is actually the next passage:
What could he say? "Alma, this is Jack Twist. Jack, my wife, Alma." His chest was heaving. He could smell Jack, the intensely familiar odor of cigarettes, musky sweat, and a faint sweetness like grass, and with it the rushing cold of the mountain. "Alma," he said, "Jack and me ain't seen each other in four years." As if it were a reason. He was glad the light was dim on the landing but did not turn away from her.
To me the key word is "reason". Reason for what? The reason they're actin' the way she just saw (sucking face), is 'cause they were in love. Ennis knows he's got to come up with something here because they were just found out IMHO, hence the "ain't seen each other . . . ". The movie never lets this cat out of the bag.
BTW I love this olfactory description of Ennis's perception Jack!
Thanks jackster! It probably was you then. You actually had me convinced, although I didn't exactly recall the justification this morning. For me, the word "reason" certainly suggests what you say here.
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Thanks jackster! It probably was you then. You actually had me convinced, although I didn't exactly recall the justification this morning. For me, the word "reason" certainly suggests what you say here.
Yes--I hadn't picked that up before, but now it falls into place.
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i havn't read the book yet but from what i can gather from views here and on other websites is that the book and the film each have there own power each conveys different things better. im glad i watched the film before i have read the book as i often feel when i read a book first i have my picture of what the characters and when i see a screen adaption if it isnt right i pick up on it but now i know when i read about ennis and jack no matter how it describes them i will deffinately see heath and jake.
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Then contrast that to the flashback, where Ennis approaches Jack from behind and embraces him. The scene is so tender and you can sense that they have no cares in the world, just a deep love and friendship. Pure innocence and youth. It ends with Ennis riding off on his horse. This is then contrasted back to the present time. We see Jacks face and its obviously aged and pained. He watches as Ennis drives away this time. The power of this moment speaks volumes to me. The love transformed from carefree innocence to painful devotion.
That was such a great scene. One the one hand you have new love: hopeful, optimistic, full of possibilities. Then you morph into the new face of love: embittered, pained, and resigned.
I also pointed this out on a thread about "The Two Ennises..." but Ennis was different w/o his admissions of (a) knowing why his guts hurt, (b) "wranging it out" while fantasizing about Jack, (c) admitting that sex with Jack was better than with women, (d) having him sit next to Jack at the camp sites instead of the other side (e) have him put his arms around Jack and start working on buttons, etc. Ennis was an equal romantic partner in the story but in the movie, he seems a "victim" (for lack of a better word) of his feelings...reticent.
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That was such a great scene. One the one hand you have new love: hopeful, optimistic, full of possibilities. Then you morph into the new face of love: embittered, pained, and resigned.
I also pointed this out on a thread about "The Two Ennises..." but Ennis was different w/o his admissions of (a) knowing why his guts hurt, (b) "wranging it out" while fantasizing about Jack, (c) admitting that sex with Jack was better than with women, (d) having him sit next to Jack at the camp sites instead of the other side (e) have him put his arms around Jack and start working on buttons, etc. Ennis was an equal romantic partner in the story but in the movie, he seems a "victim" (for lack of a better word) of his feelings...reticent.
I want to thank all of you who posted to this lovely lyrical thread. I must now go out and find me a copy of the short story. :)
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last time i commented here was nearly 2 years ago and before i read the SS :O, thats a long time :P
but even before id read the book i think what i said about them bothing conveying different things better then the other still holds pretty ture for me.