Entrevistas con algunas imagenes inéditas de la pelicula aquí:
www.abc.net.au/atthemovies/txt/s1459509.htm
Versión para imprimir
Entrevistas con algunas imagenes inéditas de la pelicula aquí:
www.abc.net.au/atthemovies/txt/s1459509.htm
Comienza la campaña de estrenos en USA y las primeras portadas y críticas.
www.ew.com
http://img.timeinc.net/ew/covergalle...005_853_lg.jpg
www.newyorker.com/critics/cinema/articles/051212crci_cinema
Cita:
NEW FRONTIERS
“Brokeback Mountain”
by ANTHONY LANE
Issue of 2005-12-12
Posted 2005-12-05
The new Ang Lee film, “Brokeback Mountain,” is a love story that starts in 1963 and never ends. The first scene is a master class in the dusty and the taciturn, with gusts of wind doing all the talking. A cowboy stands against a wall in Signal, Wyoming, his hat tipped down as if he were falling asleep. Another fellow, barely more than a kid, turns up in a coughing old truck and joins the waiting game; both are in search of a job. There is something wired and wary in their silence, and the entire passage can be read not only as an echo of “Once Upon a Time in the West,” whose opening hummed with a similar suspense, but also as an unimaginable change of tune. Sergio Leone’s men were waiting for a train; these boys are falling in love.
At last, we learn their names: Ennis del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal). Both are hired for the summer, to tend the flocks on Brokeback Mountain, and that is where we follow them for the first, idyllic act of their story. This is the most gorgeous part of the movie, and the least successful, partly because an idyll is less an event than a state of being. Lee wants to suggest the savoring of time, yet the camera tends to alight on ravishing formations of rock and cloud, grab them, and then move on, as if we were shuffling through a pile of photographs. (Does any director still have the patience to let our gaze rest without skittering upon the Western landscape?) On the other hand, you could argue that such transience sets the tone—at once wondrous and fleeting—for the rest of the movie, and that, if Ennis and Jack have fashioned a rough and rainy Eden for themselves, it is a paradise waiting to be lost.
One evening, a drunken Ennis shares Jack’s tent, and, in the heat of a cold night, there is a breathy, wordless unbuckling of belts. Rumor had it that “Brokeback Mountain” was an explicit piece of work, and I was surprised by its tameness, although Lee’s helplessly good taste, which has proved both a gift and a curb, was always going to lure him away from sweating limbs and toward the coupling of souls. Not once do our heroes mention the word love, nor does any shame or harshness attach to their desire. Indeed, what will vex some viewers is not the act of sodomy but the suggestion that Ennis and Jack are possessed of an innocence, a virginity of spirit, that the rest of society (which literally exists on a lower plane, below the mountain) will strive to violate and subdue. If the lovers hug their secret to themselves, that is because they fear for its survival:
“This is a one-shot thing we got going on here.”
“Nobody’s business but ours.”
“You know I ain’t queer.”
“Me neither.”
American Rousseauism, with its worship of open plains and its dread of civic constraint, is nothing new. The erotic strain of it that unfurls in “Brokeback Mountain” may seem unprecedented, although, considering that womanless men, bedecked in denim, rivets, and distressed leather, have been pitching camp in the wilderness since movies began, it doesn’t take much of a nudge for the subtext to rise to the surface. There is little in Lee’s film that would have rattled the spurs of Montgomery Clift in “Red River.”
“Brokeback Mountain,” which began as an Annie Proulx story in these pages, comes fully alive as the chance for happiness dies. Its beauty wells from its sorrow, because the love between Ennis and Jack is most credible not in the making but in the thwarting. Duty calls; they go their separate ways, get married—one in Texas, one in Wyoming—and raise children. Ennis weds Alma (Michelle Williams), while Jack’s wife is a rodeo rider named Lureen (Anne Hathaway), whose knowing wink, from the saddle, is the most brazen come-on in the film. After four years, the two men—as they now are—hook up again, and from then on they meet when they can. The most crushing moment comes as Alma glances from the doorway and catches her husband kissing his friend, in a rage of need that she has never seen before. In their frustration, the men are spreading ripples of pain to others, and the others are women and children. The female of the species (think of Lee’s previous heroines, like Joan Allen in “The Ice Storm” or Jennifer Connelly in “Hulk”) suffers no less than the male, but she struggles to escape the suffering, whereas the male swelters inside his strange cocoon. That’s why, when Jack and Ennis part at the end of the first summer, Ennis slips into an alleyway, retches, and punches a wall—as if the only option, for the unrequited, were to waylay one’s own heart and beat it senseless.
In the end, this is Heath Ledger’s picture. There is no mistaking Jake Gyllenhaal’s finesse (look for the wonderful scene in which he can’t look—his jaw tightening as Ennis, still just a friend, strips to wash, just past the corner of his eye), but it is Ledger who bears the yoke of the movie’s sadness. His voice is a mumble and a rumble, not because he is dumb but because he hopes that, by swallowing his words, he can swallow his feelings, too. In his mixing of the rugged and the maladroit, he makes you realize that “Brokeback Mountain” is no more a cowboy film than “The Last Picture Show.” (Both screenplays were written by Larry McMurtry, the earlier in collaboration with Peter Bogdanovich, this one with Diana Ossana.) Each is an elegy for tamped-down lives, with an eye for vanishing brightness of which Jean Renoir would have approved, and you should get ready to crumple at “Brokeback Mountain” ’s final shot: Ennis alone in a trailer, looking at a postcard of Brokeback Mountain and fingering the relics of his time there, with a field of green corn visible, yet somehow unreachable, through the window. This slow and stoic movie, hailed as a gay Western, feels neither gay nor especially Western: it is a study of love under siege. As Ennis says, “If you can’t fix it, Jack, you gotta stand it.”
alguien sabe si hay escenas subiditas de tono en la película entre los protas?? y hay desnudos?? fotos fotos :atope
Alguien anda un poco salidorro, ¿eh? :))Cita:
alguien sabe si hay escenas subiditas de tono en la película entre los protas??
Me temo que es todo muy casto y puro, algún besito a lo sumo y tal vez el culo de Heath Ledger.
¿ERES CHICO O CHICA?Cita:
Iniciado por adrian
y que importa lo que sea?? soy chico. me encanta la pareja de protas.
No sé, tío, ¿eso no es malo?
:!Cita:
Iniciado por Mo Cuishle
Raúl. En serio. ¿En qué siglo vives?
Pero por Dios, Bela...SI ES UNA PUTA BROMA. Lo siento, pensé que ya sabíais por donde iba...
No sé, no conozco a Adrian.
Pero como eres tan categórico en tus gustos cinéfilos, pensé que ibas en serio...
De todos modos, te falta un toquecillo pícaro para hacer buenas bromas...
:agradecido
Ya, pero eso es demasiado convencional. La gracia es saber parecer que vas en serio (aunque si trae problemas en persona imagínate en internet sin emoticonos, claro).Cita:
Iniciado por Bela Karloff
¿No estás ya acostumbrado a tener continuos problemas porque la gente no te entiende?
Si pretendes comunicar ironía pareciendo serie, desde luego no lo consigues...
:alloro
Contigo no, por la edad. NO pretendo nada...uno sólo pasa de largo...Cita:
Iniciado por Bela Karloff
Bueno, ya que estás, Mo, pronúnciate sobre tus expectativas en torno a esta película. ;)
Obra maestra, Ada, de veras.Cita:
Iniciado por Adamantibus
Yo desde que Ang Lee perpetró Hulk, le tengo un miedo terrible.
Precisamente desde esa magistratura yo le adoré. Es impresionante los cojones que le echó y, sobre todo, la ejecución precisa que hizo de la obra. Crece, crece y crece, y en unos años estará donde debe, como ha pasado en breve con War of the Worlds y pasó con A.I., por ejemplo.Cita:
Iniciado por GeckoBrother
Sigue vigente el link al trailer? Si no es así, donde puedo echarle un ojo?
Y una cuestión......lobby rosa, os parece tan mal que se mencione que no son mariconazos? En cierto modo no os parece mal que por una vez se ofrezca una imagen de homosexual diferente a la de pelis tipo "Descongelame" o "La jaula de las locas"?
Davo
Quizá me aventuré un poco, porque Hulk solo la he visto una vez (en cine) y quizá esperaba otra cosa, pero la recuerdo que no funcionaba nada bien ni como drama ni como película de acción.Eric Bana estaba pa colgarlo de la cibeles... y ese Nick Nolte con el piloto automático puesto. Tengo que darle otra oportunidad, que no sería la primera vez que una película me sorprende en un segundo visionado.
Y respecto a lo que mencionas de Spielberg, precisamente War of the world me parece a Spielberg lo que Hulk a Lee: el pinchazo de su carrera. Y adoro A.I. que me parece una maravilla y mejor película de su carrera.
Pues la debiste de ver en inglés, porque yo la interpretación de Bana la veo de escándalo, magistral, con una tormenta interior de lo más sugerente. Y solo puede funcionar como lo que es: DRAMA. La película es una tragedia y cada secuencia de acción lo fomenta, es una película intimista cara, nada más. Y Nick Nolte también me convenció (esto siempre) y agradecí su presencia. De todos modos, míratele en inglés, proyector y dolby, y a oscuras y solo, igual te convence.Cita:
Iniciado por GeckoBrother
Yo adoro a Hulk y, como sabes, a War of the Worlds.
¿Sabeis si en España se va atraducir el título? Estaría bien eso de "La Montaña del Culo Roto" o "La Montaña del Rompeculos" :amor
XDDDD La montaña del rompeculos XDDDDDDD
Pierrot, acabas de ganarte mi respeto
Jaaaajajajajajajaa
XDavo
Pues el otro día fui al cine y vi el cártel allí colgado. Con el título en inglés. Y pensé justamente en "La Montaña del Culo Roto".
Ahora en serio ¿alguien me explica el por qué de ese título en inglés? ¿Es alguna metáfora o frase hecha o algo?
Es que... manda huevos...
Bueno, sería más bien "la montaña rompeespaldas" o algo así.
Pero tranquilos que aquí la titularán "Montaña Letal" o "Agárrame esos Traseros".
Brokeback es sinónimo de "trabajar como un cabrón". Pero voto por lo de Rompeculos :D