This movie has it all, and then some. I saw it last night and woke up at four am. thinking about these characters, recognizing my own rural upbringing and past. I was deeply moved by this movie...in a way that touched real issues. No cynical, catty, effeminate stereotypes here, just real people experiencing real life and dealing with it in the only way they know how. It reminds me to be Thankful for the very fact this movie could be made.. and to remember there are still men who have the same conflicts today, in spite of all the "acceptance" on television and in the press. Gay men everywhere still have demons to deal with...we might be better for it if we could find our own brokeback mountain getaway...instead of looking for it in recreational drugs.--- In gay_bombay@yahoogroups.com, Pankaj Gay <[EMAIL PROTECTED]> wrote: > > Its an Fantastic movie....Its the story of ove between 2 guys and it is more realistic....Its about these 2 guys who meet as Work Buddies , Fall in Love Have Sex ...Cant express each other Cant get married , think its not the norma way ...so go ahead and get married to females have kids ...but the passion for each other stil remains and so they meet again for fishing trips ..............wonderful movie worth seeing > > > > S S <[EMAIL PROTECTED]> wrote: > Frank Rich is a columnist from the New York Times who > often uses images from popular culture (especially > television and films) to comment on the US society. He > has the following piece on the success of the film > 'Brokeback Mountain': > > December 18, 2005 > Op-Ed Columnist > Two Gay Cowboys Hit a Home Run > By FRANK RICH > WHAT if they held a culture war and no one fired a > shot? That's the compelling tale of "Brokeback > Mountain." Here is a heavily promoted American movie > depicting two men having sex - the precise sex act > that was still a crime in some states until the > Supreme Court struck down sodomy laws just two and a > half years ago - but there is no controversy, no Fox > News tar and feathering, no roar from the religious > right. "Brokeback Mountain" has instead become the > unlikely Oscar favorite, propelled by its bicoastal > sweep of critics' awards, by its unexpected dominance > of the far less highfalutin Golden Globes and, perhaps > most of all, by the lure of a gold rush. Last weekend > it opened to the highest per-screen average of any > movie this year. > Those screens were in New York, Los Angeles and San > Francisco - hardly national bellwethers. But I'll > rashly predict that the big Hollywood question posed > on the front page of The Los Angeles Times after those > stunning weekend grosses - "Can 'Brokeback Mountain' > Move the Heartland?" - will be answered with a > resounding yes. All the signs of a runaway phenomenon > are present, from an instant parody on "Saturday Night > Live" to the report that a multiplex in Plano, Tex., > sold more advance tickets for the so-called "gay > cowboy picture" than for "King Kong." "The culture is > finding us," James Schamus, the "Brokeback Mountain" > producer, told USA Today. "Grown-up movies have never > had that kind of per-screen average. You only get > those numbers when you're vacuuming up enormous > interest from all walks of life." > In the packed theater where I caught "Brokeback > Mountain," the trailers included a National Guard > recruitment spiel, and the audience was > demographically all over the map. The culture is > seeking out this movie not just because it is a > powerful, four-hankie account of a doomed love affair > and is beautifully acted by everyone, starting with > the riveting Heath Ledger. The X factor is that the > film delivers a story previously untold by A-list > Hollywood. It's a story America may be more than ready > to hear a year after its president cynically flogged a > legally superfluous (and unpassable) constitutional > amendment banning same-sex marriage for the sole > purpose of whipping up the basest hostilities of his > electoral base. > By coincidence, "Brokeback Mountain," a movie that is > all the more subversive for having no overt politics, > is a rebuke and antidote to that sordid episode. > Whether it proves a movie for the ages or as transient > as "Love Story," it is a landmark in the troubled > history of America's relationship to homosexuality. It > brings something different to the pop culture > marketplace at just the pivotal moment to catch a > wave. > Heaven knows there has been no shortage of gay-themed > entertainment in recent years. To the tedious point of > ubiquity, gay characters, many of them updated > reincarnations of the stereotypical fops and > fussbudgets of 1930's studio comedies, are at least as > well represented as other minorities in prime-time > television. Entertainment Weekly has tallied nine > movies, including "Capote" and "Rent," with major gay > characters this year. But "Brokeback Mountain," > besides being more sexually candid than the norm, is > not set in urban America, is not comic or camp, and, > unlike the breakout dramas "Philadelphia" and "Angels > in America," is pre-AIDS. > Its heroes are neither midnight cowboys, drugstore > cowboys nor Village People cowboys. As Annie Proulx > writes in the brilliant short story from which the > movie has been adapted, the two ranch hands, Ennis Del > Mar (Mr. Ledger) and Jack Twist (Jake Gyllenhaal), are > instead simply "high school dropout country boys with > no prospects, brought up to hard work and privation, > both rough-mannered, rough-spoken, inured to the stoic > life." > They meet and fall in love while tending sheep in the > Wyoming wilderness in 1963. That was the year of > Martin Luther King Jr.'s march on Washington and Betty > Friedan's "Feminine Mystique," but gay Americans, and > not just in Wyoming, were stranded, still waiting for > the world to start spinning forward. Over the next two > decades of sporadic reunions and long separations, > both Ennis and Jack get married and have children; it > barely occurs to them to do otherwise. In their place > and time, there is no vocabulary to articulate their > internal conflicts, no path to steer their story to a > happily-ever-after Hollywood ending. Before they know > it, they are, in Ms. Proulx's words, "no longer young > men with all of it before them." > Ennis's and Jack's acute emotions - yearning, > loneliness, disappointment, loss, love and, yes, lust > - are affecting because they are universal. But while > the screenplay, by Larry McMurtry and Diana Ossana, > adheres closely to the Proulx original, it even more > vividly roots the movie in the rural all-American > milieu, with its forlorn honky-tonks and small-town > Fourth of July picnics, familiar from elegiac McMurtry > works like "The Last Picture Show." More crucially, > the script adds detail to Ennis's and Jack's wives (as > do Michelle Williams and Anne Hathaway, who play them) > so that we can implicitly, and without any on-screen > moralizing, see the cost inflicted on entire families, > not just on Ennis and Jack, when gay people must live > a lie. > Though "Brokeback Mountain" is not a western, it's > been directed by Ang Lee with the austerity and > languorous gait of a John Ford epic. These aesthetics > couldn't be more country miles removed from "The > Birdcage" or "Will & Grace." The audience is forced to > recognize that gay people were fixtures in the red > state of Wyoming (and every other corner of the > country, too) long before Matthew Shepard and Mary > Cheney were born. Without a single polemical speech, > this laconic film dramatizes homosexuality as an > inherent and immutable identity, rather than some > aberrant and elective "agenda" concocted by > conspiratorial "elites" in Chelsea, the Castro and > South Beach, as anti-gay proselytizers would have it. > Ennis and Jack long for a life together, not for what > gay baiters pejoratively label a "lifestyle." > But in truth the audience doesn't have to be coerced > to get it. This is where the country has been steadily > moving of late. "Brokeback Mountain," a Hollywood > product after all, is not leading a revolution but > ratifying one, fleshing out - quite literally - what > most Americans now believe. It's not for nothing that > the proposed constitutional ban on same-sex marriage > vanished as soon as the election was over. Polls show > that a large American majority support equal rights > for gay couples as long as the unions aren't labeled > "marriage" - and given the current swift pace of > change, that reservation, too, will probably fade in > the next 5 to 10 years. > The history of "Brokeback Mountain" as a film project > in itself crystallizes how fast the climate has > shifted. Mr. McMurtry and Ms. Ossana bought the screen > rights to the Proulx story after it was published in > The New Yorker in 1997. That was the same year the > religious right declared a fatwa on Disney because > Ellen DeGeneres came out of the closet in her ABC > prime-time sitcom. In the eight years it took > "Brokeback Mountain" to overcome Hollywood's > shilly-shallying and at last be made, the Disney > boycott collapsed and Ms. DeGeneres's star rose. She's > now a mainstream daytime talk-show host competing with > Oprah. No one has forgotten she's a lesbian. No one > cares. > ANOTHER startling snapshot of this progress can be > found in a culture-war skirmish that unfolded just as > "Brokeback Mountain" was arriving at the multiplex. > The American Family Association of Tupelo, Miss., a > leader in the 1997 anti-"Ellen" crusade, claimed this > month that its threat of a boycott had led Ford to > stop advertising its Jaguar and Land Rover lines in > glossy gay magazines. Last week Ford, under fire from > gay civil-rights organizations and no doubt many other > mainstream customers, essentially told the would-be > boycotters to get lost by publicly announcing that it > would not only resume its Jaguar and Land Rover ads in > gay publications, but advertise other brands in them > as well. > As far as I can tell, the only blowhard in the country > to turn up on television to declare culture war on > "Brokeback Mountain" also has an affiliation with the > American Family Association. By contrast, as Salon > reported last week, other family-values ayatollahs > have made a conscious decision to ignore the movie, > lest they drum up ticket sales by turning it into a > SpongeBob SquarePants cause célèbre. Robert Knight of > Concerned Women for America imagined that the film > might just go away if he and his peers stayed mum. > Audiences "don't want to see two guys going at it," he > told Salon. "It's that simple." > So he might wish. The truth is that the millions of > moviegoers soon to swoon over the star-crossed gay > cowboys of "Brokeback Mountain" can probably put up > with the sight of "two guys going at it." It's the all > too American tragedy of what happens to these men > afterward that neither our hearts nor consciences can > so easily shake. > > * Copyright 2005The New York Times Company > > > > > > > ______________________________________________________________________ _____ > Nouveau : téléphonez moins cher avec Yahoo! Messenger ! 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