MCN Blogs
Ray Pride

By Ray Pride Pride@moviecitynews.com

B. Ruby polishes Brokeback Mountain: Cinema history thereafter has to arrange itself around it

“Every once in a while a film comes along that changes our perceptions so much that cinema history thereafter has to arrange itself around it,” B. Ruby Rich asserts in the Guardian: “Think of Thelma and Louise or Chungking Express, Blow-Up or Orlando—all big films that taught us to look and think and swagger differently. Brokeback Mountain is just such a film. Even for audiences educated by a decade of the New Queer Cinema phenomenon… it’s a shift in scope and tenor so profound as to signal a new era… Quite simply, despite the long careers of Derek Jarman, Gus Van Sant, John Waters, Gregg Araki, Todd Haynes, Patricia Rozema, or Ulrike Ottinger, there has never been a film by a brand-name director, packed with A-list Hollywood stars at the peak of their careers, that has taken an established conventional genre by the horns and wrestled it into a tale of homosexual love emotionally positioned to ensnare a general audience. With Brokeback Mountain, all bets are off… With utter audacity, renowned director Ang Lee, aided and abetted by legendary novelist-screenwriters Larry McMurtry and Diana Ossana and master storyteller Annie Proulx, have taken on the most sacred of all American genres, the western, and queered it… It’s a great love story, pure and simple. And simultaneously the story of a great love that’s broken and warped in the torture chamber of a society’s intolerance and threats, an individual’s fear and repression. In the end, Brokeback Mountain is a grand romantic tragedy, joining the ranks of great literature as much as great cinema.” [Extensive choruses at the link.]

Be Sociable, Share!

Comments are closed.

Movie City Indie

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon