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In Reply to: Brokeback Mountain posted by Wendell Narrod on February 4, 2006 at 10:11:53:
...leaves much unsaid and unfulfilled - that's the point, doncha know, which fact both the script and the imagery underline throughout the film (once the doomed pair leave Brokeback Mountain).In fact, Ennis and Jack's love only truly "blossoms" during that one brief summer on Brokeback Mountain. The rest of the film is how suppresssion and closeting that love, especially Ennis' withdrawal, destroys their emotional lives and those of their families.
I didn't find Annis' and Jack's initial encounter "unrealistic". (I'm neither gay nor a man, but I suspect that the eager Jack and inexperienced Ennis might have initiated sex in just such an awkward way which - BTW - follows Annie Proulx's story.)
I haven't seen Crash. I thought Capote was a fine film, one of the year's best, no agrument there, although I wouldn't say it's better than BM. Hustle & Flow was a good film, even brilliant in spots, and its subject matter is probably more accessible for most audiences, although I don't feel it sustains itself over its entire length and thus doesn't quite rank among the year's very best for me. (Other critics disagree.) Walk The Line is notable for its excellent lead performances but lacks the depth and artistry of either BM or Capote.
Cinderalla Man contained outstanding performances by Crowe (who holds the movie together nearly singlhandedly) and Giametti (who is deservedly nominated for an Oscar) and it is beautifully crafted. It successfully evokes the textures of the Great Depression and boasts several compellingly shot boxing scenes. Despite these virtues, CM is burdened by the fact that neither Opie nor screenwriter Akiva Goldsman can resist the genres' cliches. (In fact, I suspect Akiva Goldsman has never met a cliche he didn't like.)
Different strokes for different folks.
Below is a link to an article that I feel sums up the virtues/artistry of Brokeback Mountain very well:
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