First published, in slightly different form, in The
Indianapolis Star on February 6, 2006.
Now that director Ang Lee's Brokeback Mountain has
lassoed eight Academy Award nominations, millions more Americans
likely will see it. Social conservatives should be among those who
catch this widely lauded motion picture.
Socio-cons probably have sidestepped this so-called "gay cowboy
movie." Too bad. While it hardly screams "family values,"
Brokeback seriously engages profound issues that merit
consideration by those who think seriously about the challenges
that families face.
Stylistically, socio-cons need not fear Brokeback as a
didactic, in-your-face, gay screed. "We're here. We're queer. Who
dropped the saddle soap?" it is not. Nor is this film a flamboyant
camp-fest, like the flighty but hilarious The Birdcage or
much of The Producers, both coincidentally starring Nathan
Lane.
Indeed, as a romance between two thoroughly masculine ranch
hands, Brokeback begins to reverse the damage caused by
Queer Eye for the Straight Guy and similar offerings that
reinforce the stereotype that gay men are indispensable when one
needs to select fabulous neckties or striking pastels for stunning
interiors. How sad that such entertainment still elicits laughs,
even as most Americans would be justifiably outraged at any show
titled Jewish Guy with a Banker's Eye or The Mexican
Gardening Hour.
Beyond equating same-sex affection with manliness,
Brokeback addresses important matters on the political
agenda. It is impossible to discuss these themes without revealing
key plot points. So, if you have not seen Brokeback,
please do so soon, then finish this op-ed after the credits
roll.
Jack Twist and Ennis Del Mar, movingly portrayed by Academy
Award nominees Jake Gyllenhaal and Heath Ledger, respectively, find
themselves inexplicably drawn to each other one booze-filled
evening in 1963. While huddling in a tent from Wyoming's bracing
winds, a spontaneous moment of intimacy triggers for Jack and Ennis
a long summer that combines hectic days of tending sheep with
tranquil nights of tending to each other.
As the young men depart the mountain pastures when their gig
ends, they split up and do what society expects of them. Jack
competes in the southwestern rodeo circuit where he meets, marries,
and has a son with Lureen (Anne Hathaway), herself an equestrian.
Ennis weds Alma (Ledger's real-life girlfriend, Oscar nominee
Michelle Williams), a quiet, loyal woman who raises their two
daughters.
After four years apart, Jack returns to Ennis' small town of
Riverton, Wyoming. Their still-smoldering passion flares like a
zephyr-swept campfire. They stoke these flames during periodic
"fishing trips" where their rods and reels stay untouched.
Jack's and Ennis's marriages grow increasingly cold, leading to
a loveless union for the Twists and divorce and a broken home for
the Del Mars. As this adulterous relationship spreads pain all
around, one need not hark back to the Rockies of the 1960s and '70s
to find parallels to Jack and Ennis's situation. Former New Jersey
governor Jim McGreevey's wife, Dina, bore him a baby girl before
his clandestine affair with an Israeli man named Golan Cipel
erupted into view in 2004. The McGreeveys split, and their
daughter's live-in dad is now just a visitor.
Similarly, J.L. King's book On the Down Low discusses
seemingly heterosexual black husbands who cheat on their spouses
with other men. Some lucky wives land in divorce court; the least
lucky unwittingly become HIV-positive.
Meanwhile, "you've got the ones that claim they're straight but
have sex with men," Sam
Beaumont, a gay Oklahoma rancher said in the January 30
People magazine. "And when they come home at night and
their wives ask if they've been with a woman, well, they don't have
to lie."
Brokeback Mountain should prompt social conservatives
to ponder whether it is good family policy to encourage gay men to
live lives that are traditional yet untrue. Would honest gay
marriages be less destructive than deceitful straight ones? I think
so. Many disagree. Even if they oppose it, however, seeing this
film may give heterosexual marriage proponents a better insight
into why so many Americans advocate homosexual marriage.
Brokeback Mountain also concerns homophobic violence.
The October 1998 beating death of gay college student Matthew
Shepard in Laramie, Wyoming; the July 1999 fatal baseball-bat
attack on Army Private Barry Winchell, whose comrades in arms
perceived him as gay; and the non-lethal assault on gay soldier
Kyle Lawson on October 29, 2005 are just a few fairly recent
examples of this phenomenon. Just last February 2, 18-year-old
Jacob B. Robida used a hatchet and a gun to wound three patrons,
one critically, at Puzzles Lounge, a New Bedford, Massachusetts,
gay bar. (Robida died three days later, apparently from a
self-inflicted gunshot wound to the head, after he killed a female
friend and a cop, both in Arkansas.) Such incidents should remind
filmgoers that this grave matter was not buried on the Great Plains
decades ago.
Beautifully acted, photographed, written, and directed,
Brokeback Mountain quietly but powerfully asks questions
that are relevant today. Americans left, middle, and right should
see this touching, haunting love story, then give it the thorough
mulling over it deserves.