narrative of Brokeback Mountain is carried out in a traditional sequential mode, with slow camera jumps. The film uses a large number of daily plots or landscape shots in an attempt to enhance the cohesion of the shots. In fact, "Brokeback Mountain" is going to tell a secret story. The slow pace is to allow the audience to observe the characters' expressions carefully, and hope that the audience can discover how the sincerity behind the secret is hard to come by.
The audience may think that they are in a state of omniscience: knowing how the male protagonist meets, how to fall in love, and then how to hide, how to resist in the fate of helplessness. However, the movie always uses a few deeply shocking shots to remind the audience: you don't know anything. For example, the first part of the movie simply shows the relationship between the two people. The plot of this period is mainly about explaining the work. After the eye contact between the two people flashes, the passion develops. When the audience felt how weak the first segment was, the director added a scene of Ennis bending over and crying bitterly: We only saw the shadow of Ennis, and the audience turned into the passing cowboy and was severely scolded. At this time, the power of the movie appears in the part that the character has hidden himself: the slightly humpbacked Ennis has been hiding his emotions, and the plot of the fierce inner struggle is all deleted in the movie, and we don't know anything.
The richness of the imagery in the scenes in Brokeback Mountain is astonishing. The white and bright moonlight appeared three times, all pointing to the pure love between the two male protagonists: the moon is a false moonlight, and there is no black or gray shadow. Another example is the last scene of Mei Er’s meeting at Brokeback Mountain and leaving unhappy. Ennis chased the pot that was being washed away by the river in embarrassment. This means that Ennis was troubled by life, and was afflicted by his wife, daughter, money, and love. All aspects involved, he only knows how to rush to pick up the pot that was washed by the river--Jack turned his back to him. In the scene where he met Brokeback Mountain for the last time, Jack had a very complicated transformation: from complaining (he has been fighting for love, he always thought that he could live a good life with Aini) to anger (on the one hand, he was dissatisfied with Aini's anger. Jack thinks that it is not him that is at fault; on the one hand, he feels that he is involved in desire and cannot resist), to be considerate (Ennis’s pain has broken through all deliberately concealed details at this moment: I am not a human, I am nothing), the director is quite superb Adding the scenes of memories, when he was a teenager in Brokeback Mountain, Jack knew clearly that the ideal of staying with Anis was finally annihilated: Anis left him.
So we understand the meaning of Jack's death in the movie, and why Ennis's submerged reaction is so logical, because they have never had the opportunity to reveal their innermost heart-even in the movie, it is like death. The inability to confess the true temperament is precisely what creates the appearance of sincerity: without taboos, without the shadow of patriarchy, sincerity will not be so strong and profound. The details and rich shots in the movie, on the contrary, open up more and more blanks: there is always a distance between us and them in Brokeback Mountain.
Second, the shadow of patriarchy
In addition to sincere love, Li Ang took the three family scenes, quite skilled and full of layers. Jack has always played the role of rebelling against patriarchy. Jack drunk his father and on the surface the rebellion was triumphant, but her wife smiled secretly (she quickly put her smile away), which in turn proved the existence of patriarchy. Aini's family expresses the violence of the shadow of patriarchy even more: multiple episodes of sex, and fierce scolding in the kitchen at the end, Emma is suffering from another kind of patriarchal harm and cannot resist. And Jack's father, who is a figurative figure of homosexual taboos, does not forgive his son until death, and insists on putting his ashes in the "ancestral grave." The mother in contrast, tidying up the room for her son, and holding a paper bag for Ennis, seemed affectionate.
Three, angel
In the middle of the movie, there is a small episode when Ainis is eating Christmas dinner at Menglu's house: Ainis's daughter asks about his father's experience in riding a bull. Ainis said that he seemed to be flying into the air, without wings like his angelic daughter, and fell down in three seconds, then suddenly put away his smile in a serious manner. At the end of the movie, a soundtrack called "THE WINGS" sounded and Emma, the daughter of Ennis, married. Young girls have the opportunity to spread their wings like angels, but Ennis can only live in secrets. There is no bitterness here. However, what he got was actually rich love. In his room, there was a postcard that never faded: on the one hand, the director was happy for Emma to say love boldly, but on the other hand, he praised the sincerity of the never-ending heart ( The director deliberately confessed that Emma was 19 years old and only dated for one year, while the love between Ennis and Jack transcended gender, life and death, and time). Li Ang said as if vicissitudes of life: Even if it is a bird, flying is not normal, let alone people who walk on two legs?
Original:
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