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tively as the early Marlon Brando or James Dean. His face seems to fade away as we look at him, and he carefully avoids making contact, except violently with his body, in his various fist fights with strangers who don’t behave properly. Gyllenhaal’s sad-eyed Jack is studly hut naive, a swaggering seducer and dreamer who is just as lonely as Ennis, but more verbal. As time passes we witness the changes in both men and in their wives.
Film maker Ang Lee weaves his spell, finding the most beautiful paradise in the Rockies, and contrasting that to the stark towns, trailers, and prefabs Ennis lives in and the grim, barren home of Jack’s parents. It’s as if leaving Brokeback Mountain means stepping into Texas and becoming blind
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