I love the Oscars. I'm not really sure why; usually I haven't even seen most of the nominees. I think that, like most of America and certain species of birds, I am entranced by shiny, sparkly objects. People or statues, either way.I don't remember the last time I actually sat down to watch the entire show, though. Too long, too much of the same "I want to thank everyone that made it possible ..." pause to stifle tears, hands waving rapidly in face (Is that supposed to dry the tears? Or distract you from crying?), "I am so honored..." until the band starts playing.
And they always go over. Why? Are you telling me some number-cruncher couldn't analyze the data to come up with a good estimate of how long the speeches will take? I think that there's a formula somewhere, if you take the length of Oscar speeches for the past 30 years, divided by the number of award winners, multiplied by how much more seriously we take our celebrities these days and how much more seriously they take themselves, and subtract from that the square root of the winner's degree of separation from Kevin Bacon and--bingo!--an awards show that finished on schedule.
Of course, this year Brokeback Mountain is the shoe-in for Best Picture. And I may not be a film critic, but I am perfectly happy to criticize films from my layperson's point of view.
I didn't really like Brokeback Mountain ....
*** SPOILERS COMING. DO NOT READ IF YOU HAVEN'T SEEN THE MOVIE.***
I wasn't really convinced that Ennis had changed by the end. I've had it beaten into me that, for a story to work, the main characters need to show that they have changed. They've had a moment of epiphany and life has changed irrevocably for them.
Jack Twist did die, right enough, and that's a pretty defining moment. But if you consider Ennis to be the main character (as the Academy must have, since they gave Heath Ledger the best actor nomination and Jake whatshisname a best supporting actor nomination), I don't know that he really changed. He'd always maintained that he and Jack couldn't be together, and they weren't.
I don't know yet who I want to win for Best Picture. I've seen 3 of the 5 nominees—I still need to see Crash and Munich. I guess I'm okay with either Capote or Good Night and Good Luck, although it's all a moot point because the gay cowboys will take home the little golden naked man.
And why do they call it "giving a nod" when the Academy nominates someone? That sounds very threatening and mobsterish, like it belongs with "cement shoes," coming out of the mouths of men with pin-striped suits and bristling with guns and/or brass knuckles. What's that about?
Wow. When I started this blog, I thought it would be all about how much I love the Oscars. Huh.
8 comments:
I think you are right on with the formula, including the Kevin Bacon factor.
The "nod" makes me picture them going "yeah, we notice you over there ... good work ... now move along."
I have seen Brokeback Mountain twice and I am rooting for it to win best picture. I am not sure if Ennis changed or not, but there is something harsh and real about the story that makes it, for me, one of my favorite stories.
Typically, I am a not a fan of movies that do not tie up loose ends before the credits roll. I don't like it when I am not finished with the character and the movie ends. Most of the time, I don't want to be left with this unfinished character because some part of me feels that I have to finish the story in my imagination. I'm sure other people feel the same way which is evident in the fan fiction genre that has found a home on the Internet. I have not yet read any Brokeback fan fiction (which would probably be the sub-genre of slash fiction) but I am pretty sure that if it doesn't already exist it will soon.
After reading two collections of short stories by Annie Proulx, I have gained an appreciation for her style and for the short story in general. Brokeback Mountain is one of those short stories. The story is about people who struggle with their identity and I think that Ennis does change throughout the movie. Although he "isn't queer," over the course of his friendship with Jack he does fall in love with him. Jack is an idealist who wants to live with Ennis somewhere, Ennis feels plagued by the other responsibilities in his life and sees it as a mistake that will get them killed. The story portrays how people can get trapped by their situation and I think this is what makes it so real and so poignant.
Anyhow, I am writing long comments instead of working. If you haven't read the short story and would like to, I can point you to an electronic copy. --Andy
I disagree with the statement that the main character does not change. Although it may not be overtly made clear, Ennis does make a defined change as he finally self-actualizes his sexuality. A man who has previously slept with only women has now slept with a man. Surely, it is the most obvious change in the movie, but there are many more hidden subtly on purpose. You are correct in your statement that a good movie has a protagonist that has a "light-bulb" epiphany by the time credits roll. However, a great movie accomplishes the same change with a much dimmer light-bulb.
Ennis makes a simple but bold statement that he's "no queer" and by the end of the movie he is grasping the last memories of his love, sobbing on a couple blood-stained shirts. Not quite the stoic guy he was before. I’m not sure if you noticed, but the shirts are rearranged by the end of the film. When Ennis picks up the shirts from Jack’s parents, the one belonging to Jack is on the outside, and by the last scene, Ennis’s is on the outside. Why would the shirts be rearranged? What symbolism is the director trying to convey? Possibly a reflection on the change that has occurred within Ennis.
Ennis has also been divorced by the end of the film. I hope you have never experienced the pain of divorce, but I assure you that it causes change. Again, not quite as obvious, but observe how he treats his wife and children as the movie progresses. As much as he seems to be progressing forward with Jack, he is regressing backwards with his family. The only exception to this is with his eldest daughter that announces her engagement in one of the final scenes. The daughter has desperately tried to keep their relationship in tact while Ennis’s emotions spiral out of control. While you don’t really see how conflicted he really is until he is having a holiday dinner with his ex-wife and daughters, it is made clear at that point that he is having some serious emotional issues causing a depression-induced love affair with a woman that ends in him abandoning her in fear of hurting her like he did his wife. He has learned a tough lesson and took tough actions to prevent the events from repeating.
I’m not sure if it is just my personal experiences that have allowed me to better identify with the subtle changes in this particular movie, but I assure you that some of the best movies out there do require the audience to derive some of their own conclusions to make the story work. Yes, there are some unanswered questions (i.e. how did Jack die?) when the credits begin to roll, but there is a powerful (yet so very subtle) change. Keep in mind, this change is deep within Ennis. Understand that sexuality is something that you innately “know” within you. The same reason you “know” how to breathe, cry, or feed on a nipple when you are born. A change so deep won’t be obvious by its very nature.
Hopefully, this helps you to understand why Brokeback Mountain has received so many “nods”. I am not saying Brokeback Mountain is the best movie ever, but it certainly has hit some nerves. For the same purpose, please see Crash, but be forewarned that it will make you angry, sad, and very uncomfortable. That is the goal of the movie. I want you to see it because it contains a similar type of subtle change, inner-racism. We all have it. No matter how you grew up, we have some prejudices against other people based on outward appearance. Sociologists and psychologists have spent years studying racism and how much society versus instinct plays within ourselves. We all have an instinct that is to protect ourselves from things/people that are different—to protect “our tribe” from invaders (“us” and “them” concept), what we associate with those differences is what comes from society—the stereotypes. See the film and you will understand why.
Note: I have posted this comment on my own blog because I figure I spend too many corporate dollars to not get more use of out it. :-)
Andy,
I remember you had mentioned reading Annie Proulx. Is she a quick read? Because I’m always looking to pad my reading list;) I can see what you’re saying about liking loose ends tied up. I don’t feel like everything needs to be resolved, but I do feel cheated sometimes if it had been clearly indicated that something will be resolved and then it’s not.
I think that I would root for Brokeback Mountain to win because the content is so edgy for mainstream America and I also agree that the story was very real and visceral. But, like I said, I haven’t seen a few of the other nominees, so I might change my mind.
Well, hello Professor Robbie! So nice of you to stop by and instruct the class in How to Think. I feel honored and privileged to have a person who actually knows all the answers read and comment on my humble blog!
Ahhh, where to begin? I may just be speaking for myself here (as I think you have already declared yourself the spokesperson for all humankind and literature) but I’d like to voice a personal opinion. In general, if you are trying to win me over based on the merits of your argument:
* Don’t talk down to me by asserting whether my opinion is correct or incorrect, or “help me to understand” something that is obviously far beyond my feeble mental capabilities.
* Don’t make assumptions about my personal history as they would relate to the argument
* Don’t tell me what other movies or books I should be exposed to, since I am obviously so far behind in my mental and emotional development than you. And also please do not presume what my reactions to those movies would be. (Um hi, remember we’ve never actually even met.)
With that out of the way, I’d like to concisely address your argument. For the record, I have a BA and MA in English with a concentration in writing and co-founded a literary journal at my alma mater. I have presented papers of literary analysis at conferences. Just so you know a little bit of my background that is actually relevant to a discussion of literary themes and concepts.
* I think I could be swayed that Ennis had a change of heart. Not so much by the arguments you made, but by one someone else mentioned to me—that he decided that work wasn’t as important as his daughter’s wedding. However, what I would have liked to see is Ennis changing in relation to Jack and his sexuality, which didn’t happen. How did he “self-actualize” his sexuality? According to answers.com self-actualize means “To develop or achieve one's full potential.” No matter how many times Jack begged him to be together on a more permanent, daily basis, Ennis refused because of societal pressures. At the end, he’s alone and cries over some old shirts that he keeps in the closet (I’m sorry—maybe that symbolism was so overt it was beneath you). That’s his full potential?
* I would argue that, no matter what my background, a good movie/book can convey emotions to any audience without needing empathy. If you need to experience that exact situation to feel sympathy for the characters, I would argue that it’s not great literature, which is supposed to be felt and understood universally. I see Ennis as conflicted, scared, emotionally scarred and closed off throughout the whole movie—except with Jack. He was never actually in love with his wife so I don’t know that the scene where they are yelling so much shows his emotional issues as it reinforces that he feels bound by societal dictates and lashes out when there’s a possibility of his secret being discovered.
* To keep this post from growing exponentially, I’ll just make one more comment related to the issue of change and growth in the movie. You argue that all of the loose ends don’t need to be wrapped up and remind me that “some of the best movies out there do require the audience to derive some of their own conclusions to make the story work.” I absolutely agree that the ending does not need to conclude every single aspect of the story, and that the best movies rely on interaction between the movie and the audience to make the synapses. For me personally, I just don’t think that the movie gave me enough to go on to make those connections. Maybe if I saw it a second time, I’d change my mind. Unlike you, I do not have all the answers or claim to be an expert.
I’ll just ignore your attempts to edify me by telling what movies to watch or how sexuality is determined (which I thought was still being debated, although I’m happy to hear that you’ve ruled on the argument and it’s now closed). Class dismissed!
Wow...a lot of words here and i had to expand the little pop up window so i could read it like a news paper instead of reading it like an adding machine tape. ;-)
To answer your question about Annie Prolux, I do think she is a quick read. The length of her stories varies from one page to several pages, but mostly they are quick. If you live in Louisville, I would be glad to let you borrow both collections I have of her short stories either through Jessica or otherwise.
Regarding Robbie's post and your follow up: I think that had this been a discussion in a coffee shop (or some other place just as arbitrary) I don't think that he would have come across the way he was read and perhaps this wouldn't have caused a stir. From knowing robbie, I don't think he believes that he is an expert and I don't think he intended to offend you. That being said, perhaps Robbie will come back and clarify some of his points or otherwise make ammends.
As far as sexualtiy is concerned, I am sure that the argument will go on for many years regardless of what proof may surface in support of either side of the debate. As a gay man, I do think that I was born gay, but there are people who disagree with me.
Finally, regarding your original post, I have only seen Brokeback and Crash. Crash is a very good movie, but I am not sure that I reacted to it in the same way as Robbie did.
Anyhow, take care M., I look forward to more reading and commenting on your blog! --Andy
I will definitely have to check out Annie Proulx. If nothing else, I would be interested to compare her story to the movie and see if I get anything different from the story.
I personally, although not a gay man;) would agree that sexuality is determined at birth. I just wanted to make the point that it was still under discussion.
Take care, and thanks for reading!
M
My comment was, in fact, taken the wrong way. In fear that any further explanation would be taken the wrong way, I'll simply apologize for even insinuating that your literary/film review was anything less than scholarly. That was not my intention, as this is your blog after all, and I wouldn't be reading it, let alone commenting on it, if I didn't like it. I am sorry. --Robbie
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