Richard Alleva, who has been reviewing films for COMMONWEAL since 1990, has long been one of my favorite film critics. I had been wondering if and when he would review Brokeback Mountain. I discovered today that he has--and although I don't always see eye to eye with Alleva (not that I'm any expert on film), I agree with everything he says about Brokeback in his review.
What does Brokeback or Alleva's review have to do, if anything, with "Catholic legal theory?" you ask. Well, just as a film about capital punishment can bear on the moral discourse about capital punishment, and a film about abortion can bear on the moral discourse about abortion, so too can a film about the love between two gay men bear on the moral discourse about same-sex unions. And Brokeback does indeed bear on the moral discourse about same-sex unions.
Here are some excerpts from the review:
Miraculously, you discover that
you can take your heart out of your chest without dying. Well, perhaps
you’re not really alive but you walk, talk, get business done, and
nobody suspects that you are actually an ambulatory corpse. You keep
your still throbbing heart in a little box in the attic. You go up to
visit it from time to time. In the attic’s darkness you breathe on your
heart, whisper tributes to it, caress it with your eyes. Of course you
must keep your visits furtive and few lest anybody suspect how weird
you are. Suspicious or not, family and friends come to regard you as
dry, ungiving, and...well, rather heartless.
That’s the emotional gist of Brokeback Mountain,
adapted from Annie Proulx’s short story by Larry McMurtry and Diana
Ossana and directed by the versatile Ang Lee. Two rootless young men,
Ennis (Heath Ledger) and Jack (Jake Gyllenhaal), dress like cowboys but
get summer jobs shepherding near the slopes of a mountain in 1963
Wyoming. Ennis, an emotionally stunted orphan (and probable virgin),
doesn’t know what he wants out of life, while Jack Twist, a sly tease
with the demurely downcast eyes of a Victorian cherub, knows that he
wants Ennis (none of this is in the dialogue, but it is superbly
conveyed by Lee’s staging and choice of close-ups). On a freezing night
in a tent, Jack gets what he wants and Ennis discovers he wants the
same thing. But the next morning Ennis sternly declares that he “ain’t
no queer,” and Jack protests, “I ain’t either.” And they both believe
what they say. Queers are effeminate, right? And these two know they
are real men, so they can’t possibly be queers, right? But their
hormones are in command, and for the rest of the summer the youths obey
their bodies with ardor. Going their separate ways in the fall, Ennis
gets married and ekes out a Spartan existence for a wife (Michelle
Williams) and two daughters while Jack does the rodeo circuit in Texas
before marrying Lureen (Anne Hathaway) whose rich father is willing to
take a son-in-law into the ranch-equipment business, an arrangement
that turns Jack into an amusing consort and later into a court jester.
Thus concludes the first third of the movie.
Then comes the heartbreaking rest of life as lived
under the emotional shadow of Brokeback Mountain. Jack, financially
comfortable but sexually and emotionally itchy, begins visiting Ennis a
couple of times a year, the two going off to “fish” near their old
shepherding grounds. Do these periodic revels bring enough relief to
make their quotidian lives less parched? Sadly, the opposite seems to
be the case: the vacations bleed work and family life pale. Ennis
becomes that proverbial sad drunk in the darkest corner of the bar.
Jack, growing a black moustache, comes to resemble a gigolo, which may
be an indication of how he feels about himself vis-à-vis his rich wife.
The two men have stored their hearts on Brokeback Mountain and are
getting, in early middle age, too winded to make the climb.
Alleva concludes his review by emphasizing that Brokeback
is not a gay movie. I say that not because the
principal artists involved are all straight. (Ironically, Ledger and
Williams are now engaged to be married.) This superb work of art is
about the tragedy of emotional apartheid, and none of us, no matter our
sexual orientation, is ever safe from the way life conspires to make us
put our hearts on ice.
To read Alleva's whole review, click here.
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I was interested to read the posts by MIchael and Rick linking the statements of the Presidents of Loyola and Notre Dame regarding performances on campus of the Vagina Monologues. I should start by saying that I have never seen a production of the play and therefore can not speak to whether it treats women as sexual objects and degrades them, as one critic has charged, or whether it promotes the authentic human development of women.
Without regard to the merits of the play, I wonder whether part of the difference how Jenkins (Notre Dame) and Wildes (Loyola) speak about the issue has to do with the question of repeat vs. single performance. Jenkins raises a concern about endorsement and refers a couple of times to the fact that the performance of Vagina Monologues has been an annual event at Notre Dame and the fear that the repeated performances convey a message of endorsement. Although I may be wrong, I read Wildes to be speaking of a single event.
I think the endorsement question is an interesting one and wonder whether people think one ought to think differently about an annual event vs. a single showing of something that is inconsistent with Catholic views.