I love this movie so much

Simply A Masterpiece

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

One of the most extraordinary films you will see this year. Take that as you want.

Consistently referred to as the "gay cowboy" film, a description that acts as a disservice to what is a much more emotionally involving drama. Two young men are recruited to wrangle sheep in Brokeback Mountain over the winter season, where their friendship rapidly escalates to a forbidden platonic relationship. Acknowledging the tricky situation, they both decide to resist their hearts and lead normal lives where they start families. Controversially, this is renowned for losing the Best Picture award to 'Crash' and I can now understand the outcry. This is an intricate romance that feels both selfish and sorrowful. Two individuals that inflict damage upon the ones that love them and themselves. Falsifying love in an attempt to live as happy families ironically cause them self-destruction, but the screenplay gently explores the reasoning behind this. You gain an understanding as to why they made these choices, even though they are both hurting themselves, which consequently allows emotional attachment to the story and characters. Following typical western genre traits, the pacing is perhaps excessively leaning towards the slow side (especially the first thirty minutes), however it allows the characterisation to seep through the dialogue and compliment the natural beauty of Wyoming's mountainous landscape. Lee's direction is purely focused on the actors, ensuring that their talent is at the forefront. Both Gyllenhaal and Ledger were absolutely outstanding as Jack and Ennis, their chemistry was beautifully enigmatic. The internal torment and sorrowful friendship that blossoms is often spiky as it is loving, yet at no point is it conveyed falsely. The highlights and low points were progressed with natural humanity. Williams and Hathaway in supporting roles also enhanced the ferocious onscreen talent as two wives that inevitably feel betrayed. I did find the scene where Gyllenhaal violently drags a sheep by its back legs as distasteful. However, this is a majestic romantic drama that is as feral as the rodeos it portrays.

This movie that would be a great movie, for my taste is undone by a fact. This fact caused all the rest to fall apart. I tell it in the spoiler zone. Apart I must be the only person who has been a little long but that's the way it is.Photography, without being the best in the world, is good. The two main actors are great and the others alsoIt is well set and putting tough guys in difficult places as opposed to their sexual tendencies is very well thought out.Although I do not like your address. I know it's hard to think how to plan well and not settle for the camera is a simple observer but here it is and that's saying that Ang Lee does not usually plan badly.It is appreciated that actors who are beginning to dare to do this type of movies.Spoiler:At the end of the film, when we see father and daughter, I could not stop staring at Heath Ledger's dyed hair. It is assumed that this is a movie would be big budget. Did not he give them to really age him? I could not help but think, but if you are brothers, how is your father going to be. This fact caused all the rest to fall apart. I really like the symbols he uses, like finding the shirt in the closet.

"Brokeback Mountain" is an American movie mostly in the English language and this one was released back in 2005 when it dominated large parts of the awards season. I don't want to go into detail now if I think that it deserved the Best Picture Oscar more than Crash or not, but I believe both are extraordinary films really, so it was a win-win situation and Munich, another nominee, is at least as good. But back to this one here. It won Oscars though for its direction (gotta love Ang Lee), its music and its screenplay and I had the chance to watch Brokeback Mountain on the big screen last night again on the occasion of the 10th anniversary of Heath Ledger's death. A sad tribute this is. The film runs for 2 hours 15 minutes, so very long, but it never drags one bit I must say. A lot of that has to do with the previously mentioned Ledger, who gives one of the best performances of the decade and what a year for Best Actor this was with the winner now also dead way too early. Anyway, Ledger is really hitting all the right notes here from satrt to finish in a truly masterful performance. His co-lead Jake Gyllenhaal (obviously not supporting) has 2 or 3 misses in it I would say and that may be the reason why he "only" won the BAFTA and came short at the Oscars in a year that had a wide open race for Best Supporting Actor. Also in it are Michelle Williams, another nominee, and Anne Hathaway as well as a few others. The two ladies I just mentioned also have great moments. For Hathaway, that would be the phone scene at the very end of course and for Williams, there are several like for example the fishing rod note scene or also the scene when she sees the two men kissing outside the house. There is that moment when she begs her husband to get her some cigarettes just to have him do something for her, but there is no way he would do anything when going out with his lover and it becomes painfully obvious for Williams' character, not that she cared about the cigarettes or anything. This was just a tiny moment, but these tiny moments are what makes the film so great because there is so so much attention to detail in this one that it is simply a joy to watch. You will recognize these moments yourself whenever you see the film (again). And it certainly is an irony that Hathaway is the only one who managed to win an Oscar in her lifetime from the castg here, the only one from the 4 romantic key players not nominated for BBM.I think with the huge quantity of gay-themed movies out there these days that all of these filmmakers can learn so much from Lee here. The key to the film's success is that the movie almost never relied one bit on the fact that it was a relationship between two men. There is the scene with the flashback to Ledger's character's youth, but that is one of very few exceptions, even if it becomes crucial near the very end again when we wonder together with Ledger's character to what extent Gyllenhaal's character's death may have been dubious or really just an accident. We only know what he knows and that is true for almost the entire film. We find out about the death the moment he does when the letter comes back. We find out what happens during the phone call near the very end. And admittedly this death was so abrupt and I really liked it. This can happen absolutely out of nowhere and this film should inspire us to cherish our loved ones or to get active in winning over ourt future loved ones with the little time we are given to do so. Just like Ledger's character did not take the risk to live with another man together on a ranch for decades and he cannot turn back time when it is all over. And there certainly is some tragedy to the fact that Gyllenhaal's character died the way he died working for his wife and would not have when he had lived with his great love. And then there is some great emotion in this one like the ashes scene at the very end or the crying during their last meeting from Ledger's character. Here and there, there is also some situational comedy like the talking (or lack thereof) by Ledger's character. On a side-note, you will find familiar faces here and there and I really did not remember Kate Mara to be a part of this. Or David Harbour from Stranger Things. Or Anna Faris. Quite a few surprises. This is a really amazing movies, close to perfection technically and extremely elevated by the mesmerizing lead performance, the really convincing script and Ang Lee's vision. I very much enjoy Joaquin Phoneix in Walk the Line as I am a huge Johnny Cash fan, but even I find it difficult to argue against Ledger's turn in here being top of the pile from 2005. What else can I say? If you still have not seen this movie yet, then you really really really need to change that. This was the second or third time I watched it as a whole, first time on the big screen and it is still so rewarding to watch this one. It all feels so real, never just as if the film or certain scenes only existed to make a political statement pro tolerance and pro homosexuality. It's all about the story and the message comes from itself, but it's not like the film exists only for the message and has nothing else to offer, which is so frequently a problem with gay movies. This one here's an absolute thing of beauty, without a doubt one of 2005's very finest and I highly recommend checking it out.

Film Review: "Brokeback Mountain" (2005)Based on a short story by Annie Proulx published in The New Yorker in 1997, Director Ang Lee plays out his strongest suit with casting match-making actors Jake Gyllenhaal and all-too-soon deceased Heath Ledger (1979-2008), who carries the picture all along toward trailer homes as the character of Ennis Del Mar, to transform into two cowboys living in the U.S. mid-west of the 1960s.The film covers a time period from approximately 17 years of two man's lives from 1963 to 1980, stretching countryside from Wyoming to Texas as well as the U.S. American Culture of the lonesome struggling drifter, who eventually encounter his personal haven with marrying a woman of care, after the damage had already been done in an incident scene of homosexual intercourse in a tent of the title-given remote area, where beats of violence between two men transforms into anal relaxation, breaking finally with the western mythology between fist-fighting, pub-brawling and occasional pistol duels encountering cowboys.Director Ang Lee, spoiled and partially disappointed on the misinterpreted high-end comic book adaptation of "Hulk" (2003), turns to his independent roots with "Brokeback Mountain" shaking up a dusty story structures of a contemporary melodrama, using the forfeited love story between two men as an universal speaking approach on human isolation within natural needs in an accelerating society.The picture may not strike an initial nerve again as it did on release in December 2005. Yet it had been executed well enough due to breath-taking cinematographic on-location backdrops captured by Rodrigo Prieto's camera operation team as solid pacing editorial by Dylan Tichenor, who supported Director Ang Lee getting back on his feet after a major Hollywood big-budget production melt-down, where he eventually returned to with the all-over internationally successful motion picture "Life of Pi" (2012) to get recognized a second time by the Academy of Motion Picture Arts and Sciences in Best Directing.© 2017 Felix Alexander Dausend (Cinemajesty Entertainments LLC)