Brokeback Mountain

Brokeback Mountain: ***
Munich: ****

2 movies that made the most noise. So much so that I had to get my lazy arse up and rush to the nearest cinema to see what the chatter was all about. And I have to admit that there indeed was some substance to be found amidst the pile of hype that both of these were buried under. As if the rating hasn’t already declared, its Spielberg’s historic recreation of a government employed hit squad that comes up trumps. Both of them vying for the Best Film at the Oscars and in my humble opinion, even though I am gutted that they’ll hand it to Brokeback.., Munich is a more deserving candidate.

Coming to Brokeback Mountain first. In noway is this gay cowboy drama as profound or as powerful as every critic in every newspaper, every online daily claims it is. Granted, its good cinema–but giving it the status of the best to come out of Hollywood is insulting the film industry, if I can be polite enough. Since Hollywood fever caught me only back in 2003, despite my continuous valiant attempts to be abreast with the plethora of movies released and classics over these few years, I have never felt drawn into the celebrity culture–the interviews, the scandals, the break-ups, the awards, the casting coups etc etc. Which meant that I was more or less oblivious to the presence of the lead actors as A-list stars. Okay, so Gyllenhall caught my attention in the godawful Day After Tomorrow last year. In arguably, one of the most artificial and stilted performance I have seen on the big screen. So I wasn’t all that jazzed up when I looked at the star cast. Which, in a way, is good because when I was watching the movie, I wasn’t hung up/awed by/clapped at the courage of two A-list actors kissing on screen. I mean if BM was made in Bollywood (strictly hypothetical folks… don’t worry, it won’t happen EVER), I’d be applauding it (or more so-the actors) for being brave, courageous, forthright and what not. Yes, I could have been biased by the star-status.

But BM is free of any such biases of mine. And to start on a positive note, credit has to be given to Ledger as the lead who pitches in one of the most true-to-character performances ever (I have read the short story and Ledger is indeed well cast). The guy sure does make you wince with his silences and laconic speech but thanks to the length of the movie, he grows upon you like anything and towards the end, he’s one of the strongest reasons why you are not dozing off in your seat.

At its heart, BM is a tragic love story and with the skill of Ang Lee, the film does manage to tug at your heart enough to choke. Yes, the film douses you into half an hour of pity and sympathy for the doomed lovers and gives you ample time to meditate on the sheer injustice and prejudice imparted by the heartless society to homosexuals (no seriously, I really was sitting with one hand on the chin and really wished they got together and pondered over the fate that would have awaited them if they’d gone ahead with their relationship. At this point I also found myself mumbling “f*ck this society”). Proof enough for effective direction and focussed screenplay.

But all isn’t quite right in BM. For once, its far too long, and way too brooding. Especially the opening hour. Its a faithful translation of the short story, granted, but the absolute absence of direction, progression for a whole one hour sends all the wrong signals to the sleep centre. And sure enough, just as the movie was catching steam, I was groping for my Airwaves gum to keep myself alert. And then there’s the mumbling. Again, when did sporting a Southern accent meant you shouldn’t open your mouth. Atleast the director and the lead guys seem to think so. With a thick accent, the dialogues are just as comprehensible as a foreign language. I didn’t mind it that much as they are lifted almost line to line from the short story but I sure saw and heard numerous tuts and frowns on the fellow viewers’ faces. On a retrospect though, maybe speaking with one’s mouth almost closed is probably one of those classic signs of repression in Ledger’s character. In fact as I think about it, there’s so much about Ennis suggesting he’s uncomfortable being himself (hands in pocket, funny gait, odd constricted body language–typical signs of self-hatred, repression)

Overall, a good enough, if a bit rosier and romanticised translation of a piece of literature, BM’s got a terrific scene (one hell of a cinematic moment this one… when Jack and Ennis have a final confrontation and Ennis breaks down) and a terrific performance from Ledger as its only trump cards. The length, editing (or the lack of it), the brooding nature in the first half dilute the impact that the gritty short story packed. But still, good refreshing piece of cinema that’s quite direct in showcasing the problems of being a homosexual (being in closet, getting on with what society perceives as “normal life”)–something that its publicity designers shy away from and we have “universal love story” etc etc plastered on every hoarding, every poster.

To remind myself of my favourite scene, here’s the dialogue of the same:

Ennis Del Mar: I’m gonna tell you this one time, Jack fuckin’ Twist, an’ I ain’t foolin’. What I don’t know - all them things I don’t know - could get you killed if I come to know them. I mean it.
Jack Twist: Yeah well try this one, and I’ll say it just once!
Ennis Del Mar: Go ahead!
Jack Twist: Tell you what, we coulda had a good life together! Fuckin’ real good life! Had us a place of our own. But you didn’t want it, Ennis! So what we got now is Brokeback Mountain! Everything’s built on that! That’s all we got, boy, fuckin’ all. So I hope you know that, even if you don’t never know the rest! You count the damn few times we have been together in nearly twenty years and you measure the short fucking leash you keep me on - and then you ask me about Mexico and tell me you’ll kill me for needing somethin’ I don’t hardly never get. You have no idea how bad it gets! I’m not you… I can’t make it on a coupla high-altitude fucks once or twice a year! You are too much for me Ennis, you sonofawhoreson bitch! I wish I knew how to quit you.
Ennis Del Mar: [crying] Well, why don’t you? Why don’t you just let me be? It’s because of you that I’m like this! I ain’t got nothing… I ain’t nowhere… Get the fuck off me! I can’t stand being like this no more, Jack.

Jack Twist: God, I wish I knew how to quit you!
Ennis Del Mar: Well, why don’t you?

The scene alone is worth the admission price.

PS: Munich review to follow soon.