Brokeback Mountain

[Penelope]

'Brokeback' gets boot
A no-show at megaplex in Sandy
By Sean P. Means
and Sheena McFarland
The Salt Lake Tribune
Salt Lake Tribune

SANDY - Carol Adams just wanted to watch a movie and have a burrito.

But Adams learned Friday the movie she wanted to see - the R-rated Western gay romance "Brokeback Mountain" - had been pulled from screens at the MegaPlex 17 at Jordan Commons.

Management at the MegaPlex 17 decided late Thursday afternoon not to open "Brokeback Mountain" on Friday as scheduled. Word of the decision arrived at area newspapers by e-mail at 5:39 p.m. Thursday, too late for Friday papers that still listed MegaPlex's screening times for the film.

"I even called in advance yesterday, and they said the first showing was at 12:45 p.m.," said Karen Tiblier, of Sandy, who went to Jordan Commons with a friend to catch a matinee of "Brokeback Mountain."

"I just had a feeling that they wouldn't show it here, and then I saw that it was and I was surprised," Tiblier said. "Now I'm being surprised again."

Adams, who moved to Sandy from Washington state more than a year ago, said "this is the first time I've been slapped in the face with what I believe to be closemindedness. . . . This movie has gotten stellar reviews, and it's already up for boatloads of awards. Not showing this film says bigotry and fear."

Neither theater management nor Jordan Commons' owner, auto magnate and Utah Jazz owner Larry H. Miller, returned calls seeking comment. The only official explanation was a typed message posted at the MegaPlex ticket window: "There has been a change in booking and we will not be showing 'Brokeback Mountain.' We apologize for any inconvenience."

In an interview with KCPW-FM reporter Jonathan Brown, which was taped Thursday afternoon and aired Friday, Miller said booking a movie like "Brokeback Mountain" was a business decision.

"It's something that I have to let the market speak to some degree," Miller told Brown. "I don't think I'm qualified to be the community censor."

However, Brown said Friday that Miller was unaware of the storyline of "Brokeback Mountain" - about two Wyoming cowboys who maintain a hidden romance for two decades - until Brown described it to him Thursday, less than two hours before the schedule change was announced.

Other new movies with R-rated content - such as the marijuana-fueled comedy "Grandma's Boy" and the grisly horror movie "Hostel" - opened on schedule at the MegaPlex 17.

Officials for Focus Features, the movie's distributor, were incensed.

"Only hours prior to opening 'Brokeback Mountain,' [the theater management] reneged on their licensing agreement with Focus Features and refused to open the film today as scheduled," the company said in a statement. "Given the gigantic grosses already being posted in Salt Lake City for 'Brokeback Mountain,' this is their loss. We are thrilled that the film . . . is now being embraced by such a huge audience in Salt Lake City, regardless of the deplorable business practices of this one theater."

Mike Thompson, executive director of the gay-rights group Equality Utah, said, "It's disappointing that bias would prevent a beautiful and award-winning film such as 'Brokeback Mountain' from being made available to the residents of Utah."

The movie, starring Heath Ledger and Jake Gyllenhaal, set box-office records for the Broadway Centre Cinemas when it opened Dec. 30. Tori Baker, executive director of the Salt Lake Film Society (the nonprofit group that runs the Broadway and Tower theaters), said "Brokeback Mountain" made $46,000 over the four-day New Year's weekend - placing the Broadway 10th nationwide for per-screen average.

Baker said Focus Features, the movie's distributor, "is falling off their chair about [the numbers]."

Focus Features has been releasing "Brokeback Mountain" slowly across the country, building up positive reviews to counter the marketing hurdle of selling a gay romance to middle America. But better-than-expected box office prompted Focus to speed up the national release, up to nearly 500 screens this weekend - including the Century 16 in South Salt Lake and the Cinemark 24 at Jordan Landing.

The Utah Film Critics Society named "Brokeback Mountain" the year's best movie, and also gave top honors to director Ang Lee. The movie has received similar honors from critics' groups nationwide, as well as seven Golden Globe nominations, four Screen Actors Guild nominations, and nominations for Directors Guild, Writers Guild and Producers Guild awards.

Adams, not wanting to cancel her weekly "Mom's day out," chose to watch a movie she has already seen, "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe." But she said the "Brokeback Mountain" incident may change her moveigoing habits.

"There are some new theaters around here and they show all the same movies," Adams said. "I may end up going there."

[anonymous1980]

GLAAD gets mad at Gene Shalit's "Brokeback Mountain" review.

[flipp525]

Here's an interesting Jeffrey Wells article about Roberta Maxwell who plays Jake Twist's mother in the penultimate scene.
Link

It has a late stage Sharon Warren kind of feel to the pitch for a nod. I don't think it's any less than what Beatrice Straight did in Network - although much more subtle than the brief but brilliant outburst Straight has in that film.

[rudeboy]

December 28, 2005
'Brokeback' a Quiet Box Office Boon
By THE ASSOCIATED PRESS

Filed at 10:44 p.m. ET

LOS ANGELES (AP) -- Who's afraid of a couple of gay cowboys? Not moviegoers, who helped ''Brokeback Mountain'' post the highest per-screen average over the film-flush holiday weekend.

The Ang Lee film, which follows the 20-year forbidden romance between two roughneck ranch hands, earned $13,599 per theater, compared with $9,305 for weekend winner ''King Kong'' and $8,225 for ''The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.''

The big question is whether ''Brokeback'' can maintain its momentum as it moves from selected cities, where audiences are receptive to the subject matter, to suburbs far and wide, where that might not be the case.

Early numbers -- and early awards buzz -- establish the picture's staying power, industry insiders say. ''Brokeback'' earned a leading seven Golden Globe nominations.

''It delivered very strong growth in what is truly a highly unforgiving, competitive, cruel market at this Christmas period,'' said Jack Foley, president of theatrical distribution for Focus Features. ''It showed it has breadth beyond the gay community.''

Distributors planned to roll out the film slowly. It opened in just six theaters, where it earned an ''unprecedented'' $109,000 per venue, said Paul Dergarabedian, president of box office tracker Exhibitor Relations Co. Inc.

The film expanded to 69 theaters the following week, then to 217 over the holiday weekend, reaching suburban audiences in Portland, Dallas, Denver and Atlanta.

The gradual release allows moviegoers to talk up the film's appeal, Foley said.

And it seems to be working.

''This is a film that builds through word of mouth and critical acclaim,'' Dergarabedian said. ''People want to see what all the fuss is about.''

Response has been so robust that distributors are expanding the film's rollout ahead of schedule. It will show on 269 screens this Friday, and reach an additional 80 markets the following week, Foley said.

Still, he acknowledges that bringing a homosexual love story to the Bible Belt presents its own set of challenges. Various Christian groups voiced opposition to the film before its release.

Ted Baehr, who reviews films for the Christian Film & Television Commission, called the film ''abhorrent'' and ''twisted, laughable, frustrating and boring neo-Marxist homosexual propaganda'' in a review on the Commission's MovieGuide Web site.

But based on the film's reception in Atlanta and Dallas, Foley said he expects it will be well received in other markets.

''We're rolling it out ahead of schedule because the demand is there,'' he said.

Ever-building buzz can only help ''Brokeback,'' Dergarabedian said.

''This film has so much buzz going for it and so much critical acclaim going for it, it will transcend any limits the subject matter has placed on it,'' he said. ''If you want to be a well-informed viewer on Oscar night, you should probably see this movie.''

[filmgabber]

Eric, I'll retract those comments if you'll give me another chance. You know how to reach me babe.

Now, in relation to "Brokeback Mountain"... having seen several award contenders this past week, I can't seem to find a performance quite like Heath Ledger's. There are layers, as Penelope said, upon layers to his character. It's like he tapped into Ennis deeper than probably Lee or Proulx thought he or anyone else would.

[Eric]

Eric, I just remembered. Weren't we supposed to get married? When did we break up? IM me at AOL: iheartaltrockers

Your Prince tirades forced me to pull a Kenny Chesney, remember?

[Franz Ferdinand]

I finally got a chance to see the movie, and I was blown away. Everything I wanted from the movie was right there, and it was definitely up to the endless hype placed on it. More than likely I'll need a few more days to digest everything about it: the direction, the cinematography, the screenplay, the wonderful score, but above all, the superb acting. This is truly a rounded and complete movie, with everything working right.

My girlfriend thought the only flaw was what she felt a lack of time building up Ennis and Jack's friendship/attraction at the beginning of the movie, leading up to their night of passion. I felt that their attraction was easy to see, and it was developed first before their friendship; once they stepped over the threshold, they became closer and realized they have more in common. Ennis and Jack's relationship also parallels myself and my girlfriend, me being the more withdrawn one. She enjoyed that aspect, not to mention a former teacher of hers playing the bartender in the scene where Jack tries to buy the rodeo clown a drink, lol.

Heath Ledger and Jake Gyllenhaal turn in performances that should be canonized as all-time greats. Philip Seymour Hoffman is the current front runner (if judged on precursors), but if it was up to me, Heath and Jake would be co-winners of the Best Actor prize as they deserve to be. Everything about their performances - little nuances, eyes and facial expressions, body language, vocal deliveries - is just flawless, heartfelt and truly expressive. You feel their longing, their desire to be with each other, and their realization that they are ruining (in a sense) the heterosexual relationships they are in with their wives, and the people in their immediate lives.

Michelle Williams was also a marvel to behold, miles away from her Dawson's Creek beginnings. She was marvelous in her facial expressions, and the pain she underwent when she saw Ennis and Jack kissing was so subtle, yet so obvious. Anne Hathaway, for all talk of her being wooden, had a brilliant scene talking to Ennis on the phone. Just heartbreaking.

Penelope, I loved your final paragraph. Exactly what I felt, such wonderful imagery and symbolism. Overall, this movie was next to flawless: some scenes were drawn out, but if that's the biggest complaint, I'll take it. Quite possibly the best movie I've seen this year, and definitely my choice for several major Oscars.

[Penelope]

I humbly submit my thoughts about this film. It's a bit long, and some possible spoilers, but I hope it reflects how much I feel about this film, and I hope you enjoy it:

Let me say that I do, indeed, think that Brokeback Mountain is one of the best films of the year. It could be argued, honestly, that David Cronenberg’s direction of A History of Violence is a touch better than Ang Lee’s direction of Brokeback, but that is not to slight Lee, as Brokeback is a nearly pitch-perfect film. And the fact that it reaches deep down into one’s gut in a way that Violence doesn’t quite achieve is something to be remarked.

The combo of Lee’s meticulous direction, Larry McMurtry and Diana Ossana’s powerful script, Rodrigo Prieto’s extraordinary cinematography and, most of all, a magnificent cast (from the two fantastic leads to the briefest extras) makes for an unforgettable experience, one that is still haunting me days later.

I have certainly seen my share of the so-called Queer Cinema, and liked many of these films. And it can be argued that some of them are more erotic than Brokeback (say, the Australian film Head On), more romantic (maybe Beautiful Thing), more intellectual (possibly Urbania), but none has hit me with the force that Brokeback has. Possibly that’s because Brokeback doesn’t fit within the parameters of the Queer Cinema: it’s not as narrowly focused (either in time or character or location), and, obviously, being a major Hollywood release with A-list actors places it apart from those films to begin with. For me, the marvel of Brokeback was how it touched on aspects of the life stories of gay men that no other film ever really has approached. In portraying gay men who strive to live, to just BE, in the middle of the so-called “heartland” is something with which I could readily identify. I know these people, I’ve met them, I’ve even loved them (yep, I have my own Ennis in my past, a man who I loved, who loved me, but couldn’t, well, go “there,” and I knew I had to let him find his way on his own.)

At first, my initial complaints centered around two things: the pacing of the film and the lack of affection between the two men in the second half. Now, my argument with the pacing is the opposite of what most critics have complained about—for me, the movie wasn’t too slow, but, rather, it moved far too fast—really, I could have spent another 30 minutes or more with these people and still be entranced—but maybe the speed of the film was simply a reflection of how excited I was to see the film. As for the affection issue, suffice it to say that after Ennis and Jack are reunited, we see them on their trips, but never again see them embracing or kissing. I would’ve liked a little more, but if this is the price one pays for mainstream appeal, well, I’ll accept it as a first step.

Anyway, such an approach is in tune with the less-is-more greatness of the script and direction. I love a film that doesn’t spell everything out for the audience, but, instead, engages the imagination on levels that one rarely experiences in this day and age. A History of Violence was such a film, and so is Brokeback Mountain. So much is unsaid, or said in ways that require additional thought; and so much of the film hints at ideas and thoughts that excite and tantalize.

All of this is centered on Heath Ledger’s astonishing portrayal of Ennis. The hype about his performance is true. It’s a performance of such profound depth and feeling, of such skill and dexterity that it will probably linger for many, many years. This laconic, shy, mumbling, grunting man is more than just ticks—he’s a character that digs deep into your soul and grabs on, as if he’s desperately searching for something. When he finds it, he’s unequipped to truly acknowledge it. As the film progresses, Ledger’s performance, amazingly, becomes more forceful, and, yet, haunted at the same time. It’s stunning to realize that, at the end of the film, Ennis is only 40 years old—he’s so beat up by the tragedies of his life, he seems 20 years older.

Although clearly shaded by Ledger’s towering performance, Jake Gyllenhaal still manages to impress. What I liked about his performance was the way he fully embraced Jack’s willingness to take risks. There’s a yearning to Jack that is more visible compared to Ennis; take, for example, the scene where Jack meets Randall (David Harbour): you see it in his eyes, in his subtle movements, and you recognize what it is without it having to be said—he’s a man in his late 30s, keyed-up like a teenager at the prospect of something wonderful coming into his life again.

The rest of the cast is equally fantastic. Michelle Williams is extraordinarily good; the much talked-about scene where she sees Ennis and Jack kissing is a magnificently realized piece of acting, in just the eyes and the body language—furthermore, there’s a slow burn to her Alma that matches and yet counters the burn in Ennis’ soul. Anne Hathaway is a delight in her early scenes, wonderfully playing off Gyllenhaal; I do think that Lureen has been misread by many—I think she truly loves Jack—notice Hathaway’s reactions at the Thanksgiving scene—Lureen is finally proud of her man. But in her last scene—the phone conversation with Ennis—Hathaway reveals so many layers—realization, hurt, even compassion. And I have to extend kudos to the supporting players, all of whom provide key turns in this incredible journey: Randy Quaid, Linda Cardellini, Anna Faris, Kate O’Mara, and David Harbour.

A fascinating aspect to the discussion about Brokeback is how it is being positioned as another entry in the closing chapter of the Western genre, how it supposedly subverts the iconography of the American cowboy. Conversely, I have argued in advance that the film would be a historical romance in the vein of Random Harvest or Doctor Zhivago, transplanted to the American West. Turns out, we’re both right.

The important key here is that Annie Proulx studied history at university, where she was heavily influenced by the Annales theory of history, which initially emerged in France in the early 20th century and which deemphasizes the Great Man/Great Event political/diplomatic approach to the subject and, instead, emphasizes the role of geography, culture and economics as primary causative agents in history; later, the Annalistes added to the theory with the idea of mentalité, which brought ordinary people’s experiences, and thus the inner workings of society, to the foreground of history. All of this is readily apparent in Proulx’s fiction, and one of the great pleasures of the film of Brokeback Mountain is how the screenplay not only retains this aspect, but enhances it, as well.

The vast majority of historical romances set their story against the backdrop of a major event, whether it is World War I (Random Harvest, A Very Long Engagement), the Russian Revolution (Doctor Zhivago), World War II (The English Patient) or even the sinking of a famous ship (Titanic). Brokeback Mountain, however, does not do that; the major events of the era—the Vietnam War, Watergate, and, most significantly for this story, the Stonewall Riots and the emerging gay rights movement—are not even referred to in the film. Rather, Brokeback portrays history in a clearly Annaliste manner. The passage of time is registered not by major events, but by cultural developments—changing fashions and hairstyles, vehicles, television programs. More decisive, however, is the fact that geography and the inner workings of society play a more pivotal role as, I believe (I’m a bit of an Annaliste myself), they do in real life. I don’t know if Brokeback Mountain is the first Annaliste historical romance, but this is where it does, in fact, share so much with the Western genre—think of, for example, Winchester ’73, in which geography, culture and economics are among the pivotal forces that give the film its thrust.

The most obvious aspect here is how social forces impact the lives of these men and women. Because of society’s disapproval of homosexuality, particularly in the region in which they live, Ennis and Jack are unable or unwilling to fully embrace their love for each other, and Ennis reacts to it violently, unable to reconcile his cultural upbringing with the way he really is. Additionally, this societal disapproval goes on to impact the lives of those around them, specifically, their families—we see this in Alma’s confused horror at her discovery, Lureen’s ultimate realization at the end, and Alma Jr.’s conflicted admiration for her father.

The role of geography is even more complex. Many have positioned Brokeback Mountain as an Edenic paradise lost, and that can’t be argued with. But, in this regard, I would argue that geography is both an influence on the lives of the character, but also a symbol for the inherent reality of homosexuality. The isolation of the wilderness allows Ennis and Jack to pursue their love affair, while the isolation of the communities in which they live forces them to keep it secret. Furthermore, by placing their love against the backdrop of soaring forests and mountains, the film succinctly identifies this love as natural, that it just is, like the trees and the streams, a magnificent part of creation. For once in a grand epic, these widescreen vistas aren’t just a part of the story—they ARE the story.

My Annales theory on this film comes to its close with, appropriately, the film’s unforgettable final shot: nature, distant, isolated and sparse, outside a window, while the memory of a great love is finally enclosed by culture—a pair of shirts in a wardrobe and a postcard, a small recreation of a once grand reality.

[filmgabber]

So I'm curious as to what straight men will think about this movie.

filmgabber, you are pathologically preoccupied with straight men. :;):

I can relate.

Eric, I just remembered. Weren't we supposed to get married? When did we break up? IM me at AOL: iheartaltrockers

[filmgabber]

Although a "Best Picture" win two days before its DVD release would give it a unique boost.

[Big Magilla]

Brokeback Mountain is scheduled for DVD release March 7th, but strong box office and the continuing awards season will probably push it back.

[filmgabber]

Conservative groups are also pissed that "Brokeback Mountain", "Transamerica", "Breakfast on Pluto" and "Rent" combined have raised the cashflow for a number of gay businesses, primarily media publications, these last few months. And considering all of these films have DVD release dates in the first quarter of 06, there's sure to be another round of crossfire between the gay and right-wing camps.

Part of the fight is based on values, but most of it is politics and money.

[Sonic Youth]

O'Reilly went on to say that the promotion for the movie has clearly left out the fact that both characters go on to marry women and deceive the families they've created by indulging in this affair and that, therefore, the movie was anti-family and anti-marriage.

Funny, coming from a married man who sexually harrassed his co-worker.

[anonymous1980]

Here's a review from a self-professed conservative Christian from the IMDb:

I've always been somewhat reluctant to come down hard on homosexuals (in social situations with other church-goers or with my Republican friends at political events). I'm just not the type to judge others out of spite. I've never really known anyone close to me that's gay, although I've met a few people here and there at my work that later I was told were.

Last weekend, I was in Dallas and - to make a long story short - I ended up "having" to see this film. It definitely was NOT my choice to do so, but to avoid a confrontation, I relented. Everybody makes this sort of compromise sooner or later, right? If the film we wanted to see hadn't been sold out, I don't think I'd ever have seen "Brokeback Mountain."

It's been four days since I saw the film, and progressively, day after day, I have been forced to admit that I am ashamed of the way I felt about homosexuals. I literally had no concept of what life is truly like for these individuals, and must continue to be. In my heart I know that good, wholesome, long-standing friends of mine - true-believing Christians - have made life horrible for these people when they go out of their way to bad mouth them behind their backs (no one I know I think would get in someone's face), tell their children homosexuals are going to Hell, etc etc.

I can't explain what I'm feeling, but I haven't had this kind of doubt (about the church I go to) since I made the decision a long, long time ago to leave the family business against my father's wishes. I also didn't go into the same branch of the armed forces that he went into. Which is another story. In a way, I guess, my own personal history and my relationship with a disapproving (and uneducated) father somehow made me "get" what Heath Ledger's character goes through. Let me just say that a lot of heartache was involved. The God I believe in, that I teach my kids to trust, would never wish the kind of pain that I went through on anyone, which really I now know for real, is the same kind of pain homosexuals must go through just to live what for them is an honest life, and the choice they must make. I'd never had my eyes opened to this before, not ONE IOTA.

Tonight, winding down, I said a little prayer. It was more or less the same thing that's been going round and round inside my head since I saw this movie... who am I to judge? I honestly was trembling at one point during the credits before we got up to leave, and I had to struggle to re-gain my composure. Now that I am remembering that, it reminds me of the way I trembled when I first asked God to forgive me of my sins and accept me as I am.

"Brokeback Mountain" humbled me.

THIS is the kind of thing Jerry Falwell, Fred Phelps and Pat Robertson are afraid of!!!

[Reza]

Michael Medved is a total hack.

But it's not only the success of "Brokeback Mountain" that they're afraid of, it's the possibility of Hollywood making more films along the lines of "BM" if it proves successful at the box office.

First homosexuals were shunned and ridiculed. Now people in America are scared of them! More power to gay people. Gradually we, in other parts of the world, are learning what scares America. First it was Osama and his posse and now homosexuals. I can't wait for Osama to come out of hiding and announce that he is actually gay. That should REALLY make a lot of people pee in their pants.