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I thought this movie was freaking great. I was pissed when Heath Ledger beat Phoenix for the Academy Award but after I watched it, yup there right.9/10
Such a beautiful and epic story
Should of won best picture instead of crash!
Simply put, the story of "Brokeback Mountain" was possibly the most affecting I have ever read. Now I'm excited to see the film.

When they said that he would be playing Johnny Cash I didn't think it would work. I didn't think reese Witherspoon would work either but boy was I wrong. They look so good in the trailer. They have real chemistry and seem perfect th roles. The movie looks very inetresting.
Can't wait to see this movie. I've been waiting for what seems like forever for this. It looks like it might be the film of the year to me. The short story was ok but i think the movie will be better. Everybody go out and see it when it is released in theaters.
Like Annie Proulx's writing, the film was by equal turns rapturous and devastating. Both exquisitely beautiful and gut-punched painful. Do not go to this movie thinking that Ang Lee has thoughtfully sprinkled in some magic movie dust that will leave you feeling good. You will walk out feeling emotionally drained and conflicted. The conflicted feeling will last for days. My explicit advice is that the film be seen in an environment that will promote a feeling of intimacy. See it with someone you love. You will willingly bear your heart. You will feel vulnerable.

Heath Ledger fully becomes Ennis del Mar. He is wracked by pain, frustration, fear and guilt that never completely leave him. Jake Gyllenhaal fully becomes Jack Twist. He has a kind of hopeful joy you feel you can drink in great healing gulps. But Ennis cannot be completely healed, he can only be temporarily relieved and the anguish that this causes Jack is fully realized through Jake. Ennis' and Jack's love is made fully evident by Heath and Jake in actions and expressions both great and small.

The music of Gustavo Santaolalla is pitch perfect and the screenplay of Larry McMurtry and Diana Ossana is flawless.

I don't feel the need to elaborate on the performances of Michelle Williams and Anne Hathaway or the cinematography of Rodrigo Prieto. They were each exceptional and have been praised elsewhere. They were not the focus of my concern although if they had not been so exceptional the film would have been crippled.

Please, read the story. But expect to come away from the film with different impressions and understandings. Be prepared to think differently about Jack and Ennis. Be prepared to understand them more fully.

I am honestly grateful to Heath Ledger, Jake Gyllenhaal and Ang Lee for so lovingly giving Ennis and Jack and their story to us and I will write them to say so.

You will be changed by this film.
This movie is beyond brilliant and should take home the best picture oscar and acting for Heath Ledger and as well as director for Ang Lee
Somebody made a movie about love in the gay world that didn't include glitter and limp wrists. Don't get me worng, nothing wrong with those things, but those have been, up to this point, the only things seen in media. Nobody pays attention to those of us who aren't inside those flambouyant stereotypes.

I'm glad they made this movie. I can finally watch a love story about two regular guys like myself, without all the drama usually associated with gay characters.

Based on a short story by Pulitzer Prize-winning author E. Annie Proulx and directed by Ang Lee (Crouching Tiger, Hidden Dragon, The Ice Storm, Sense and Sensibility), Brokeback Mountain, a tragic, modern western with two characters derailed by social circumstances and personal inhibitions from establishing a long-term relationship together, will be dismissed or denigrated by some uncomfortable with the subject matter as a "gay-cowboy movie," which suggests Brokeback Mountain was produced as a self-consciously controversial film (and thus Oscar-bait) or to target a specific, potentially profitable demographic (i.e., gay men, progressives). While Brokeback Mountain's episodic structure proves to be problematic, Ang Lee's typically restrained, unsentimental direction, rugged, iconic imagery, and in particular, Heath Ledger's emotionally authentic central performance as the withdrawn, tormented central character, elevate Brokeback Mountain into "important film" territory and one worth watching despite admittedly minor reservations.

1963, Wyoming. Ennis Del Mar (Heath Ledger), laconic and taciturn, poor and penniless, and Jack Twist (Jake Gyllenhaal), a sociable, self-confident type, first meet outside a trailer, looking for work. Ennis and Jack are hoping to be hired as sheepherders for the summer season on Brokeback Mountain. Left mostly to their own devices for the summer, and despite being ordered to sleep separately (Jack must watch over the sheep at night, while Ennis remains below at their campground), a particularly cold night sends a drunken Ennis into the main tent. Casual contact leads to frenzied, awkward lovemaking, followed by a rattled Ennis' declaration the next morning that he's not "queer." Jack agrees with him, but the men continue their relationship through a near-idyllic summer.

With the summer and their work as sheepherders at an end, Ennis decides to end their relationship. Ennis hopes to marry his childhood sweetheart, Alma (Michelle Williams), raise a family, and hopefully own a ranch one day. For his part, Jack hopes to become a rodeo champion. For the next four years, Ennis scratches out a living as a ranch hand, while Alma gives birth to two daughters. Jack, going nowhere fast on the rodeo circuit, meets and marries a local beauty queen, Lureen Newsome (Anne Hathaway), the daughter of a wealthy Texas businessman, L.D. Newsome (Graham Beckel). Jack becomes L.D.'s top salesman, ensuring himself a materially conformable future (even as his emotional and physical needs are left unfulfilled). Lureen gives birth to a son.

It's Jack, eager for Ennis' renewed companionship, that finds Ennis after more than four years. Jack suggests that they go on a weekend fishing trip, the first of many over the next decade, with a self-negating Ennis hesitant to turn their idyllic retreats into something permanent. Ennis' fears the potential opprobrium of wives, friends, and family to his relationship with Jack (unsurprising given the setting and the pre-Stonewall, pre-gay rights time period). Ennis' self-abnegation leads a cycle of self-denial and the eventual disintegration of his other relationships. Jack, the better adjusted of the two men, nonetheless leads a covert, risky life. As the men grow older, the conflict over their respective futures, alone and together, leads in only one, tragic direction.

Contrary to early, positive reports (not to mention winning the top prize, the Golden Lion Award for Best Picture, at the Venice Film Festival earlier this fall), Brokeback Mountain is far from a perfect film. The problems with Brokeback Mountain can be traced back to the episodic nature of Proulx's short story, which first appeared in The New Yorker in 1997, and the screenplay adaptation by Larry McMurtry (Lonesome Dove, Terms of Endearment, The Last Picture Show) and Diana Ossana. Proulx's spare story and the adaptation both cover a twenty-year span in the lives of the characters. Once the central conflict has been articulated (i.e., whether Ennis and Jack will abandon their unfulfilling, inauthentic lives for a life together), Brokeback Mountain leaves the question unanswered for most of the film's running time, instead focusing on the consequences of Ennis' inflexibility and stubbornness and Jack's growing frustrations and desperation.

Without the introduction of new layers of conflict, personal or social, Brokeback Mountain becomes static and repetitive, ultimately resorting to a clich
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