Brokeback Mountain: Our Community's Common Bond > Brokeback Mountain Open Forum
TOTW 18/07: Do you think classic cowboy icons like the "Marlboro Man" were proto
serious crayons:
--- Quote from: moremojo on February 20, 2008, 01:18:05 pm ---Ennis and Jack did, however subconsciously, model their style and behavior on a cowboy ideal that may not have existed in their world anymore. The open range had closed by the late nineteenth century, and the golden age of the cowboy had become a thing of the past, preserved mainly in stories and media representations, such as the movies. It is certainly conceivable, thinking along these lines, that Jack and Ennis were influenced by the actors they may have seen in Westerns or the images they may have encountered in magazines and books, so that the rough equivalent of the "Marlboro Man" may have helped shape their sense of identity (not to mention the kind of man they mutually found attractive).
--- End quote ---
Excellent point, Scott. I also think that's what Proulx meant, why she was careful to draw that distinction. And part of how I understand Jack's character is as sort of a "cowboy wannabe," signaled by things like his deliberate posing outside the trailer, his riding bravado, the toy horse and rider in his room, his rodeo aspirations. And that Ennis more closely embodies the idealized cowboy characteristics -- he's a better shot, possibly a better rider, etc. -- is part of Ennis' appeal for Jack.
--- Quote ---On the issue of Brokeback Mountain's genre, even if it is not strictly speaking a Western, it derives much of its totemic force from the tradition of the Western.
--- End quote ---
Absolutely.
Brown Eyes:
--- Quote from: moremojo on February 20, 2008, 01:18:05 pm ---It might be worth bearing in mind that Proulx has insisted over and over again in interviews and articles that Ennis and Jack were not cowboys...they wanted to be cowboys, but they came together as sheepherders on the mountain (the low end of the totem pole in the ranching culture in which they lived). Jack didn't even remain on the land but became a small-town gentleman-salesman of not insubstantial wealth (or at least with links to that wealth).
Proulx's argument seems to be based on strict delineations derived from types of work (and we know that Ennis did work with cattle at various points in his life), but I think a deeper implication of her statements is that Ennis and Jack did, however subconsciously, model their style and behavior on a cowboy ideal that may not have existed in their world anymore. The open range had closed by the late nineteenth century, and the golden age of the cowboy had become a thing of the past, preserved mainly in stories and media representations, such as the movies. It is certainly conceivable, thinking along these lines, that Jack and Ennis were influenced by the actors they may have seen in Westerns or the images they may have encountered in magazines and books, so that the rough equivalent of the "Marlboro Man" may have helped shape their sense of identity (not to mention the kind of man they mutually found attractive).
On the issue of Brokeback Mountain's genre, even if it is not strictly speaking a Western, it derives much of its totemic force from the tradition of the Western. The closing image, for example, is a subtle nod to the final shot in John Ford's 1956 classic The Searchers.
--- End quote ---
Great post Friend! :)
Looking at the evolution of how Jack and Ennis look and how their equipment looks (for example, canvas tent vs. fancier waterproof tents at end) even across the story's span (63-83) is instructive in thinking about how BBM visualizes the *idea* or a cowboy or western culture in the late 20th century.
I agree that for Jack in particular, his cowboy clothing becomes very much a fashion statement. And, that even by the time of the reunion in 1967, his identity as a "real cowboy" (i.e. working with cattle... either within the rodeo context or ranch context) was behind him. We know he'd retired from the rodeo by the time of the reunion and the "cow and calf operation" is at the level of fantasy for him when he suggests it to Ennis.
So, Jack's interest in continuing to wear cowboy hats, his big belt buckles, etc. does become (increasingly) an image thing. I think the contrast between his first black hat and his larger last black hat is interesting. By the time of the lakeside argument, he really looks like he's from Texas (at least to my eyes).
In many ways, I think BBM is about a meditation on the breakdown or at least huge changes in western culture (in response to economic realities, etc.) that have occured in the 20th century and particularly the late 20th century.
The idea that Jack and even Ennis are "wannabe" cowboys to certain degrees indicates how nostalgic the idea of the cowboy really has become. I mean, even the Marlborough Man is a thing of the past now.
And, when it comes to Ennis... the idea that he's revealed to have many of the expected exterior characteristics of a stoic, tough, silent cowboy (visually the iconic package in many ways)... those characteristics are also exactly simultaneously characteristics that define a rather frightened, closeted gay man trying to survive in an environment that he perceives as hostile.
Brown Eyes:
--- Quote from: moremojo on February 20, 2008, 01:18:05 pm ---On the issue of Brokeback Mountain's genre, even if it is not strictly speaking a Western, it derives much of its totemic force from the tradition of the Western. The closing image, for example, is a subtle nod to the final shot in John Ford's 1956 classic The Searchers.
--- End quote ---
Is this the shot you mean.?
I just found this tidbit about the end of The Searchers doing a quick websearch... I've never seen the film myself.
--- Quote ---Pictured is the final shot from The Searchers, John Ford's masterpiece starring John Wayne as the former cavalry officer who spends years tracking down the niece abducted by the Comanche. When he returns to civilization at the edge of Monument Valley, he is like Moses, someone who can lead his people to the promised land but not enter himself. It's a haunting coda to the film, bringing resolution for some of the characters but not for Wayne's, doomed to be the eternal outsider.
--- End quote ---
The full context for this quotation and the image can be found here: http://blogs.phillynews.com/inquirer/flickgrrl/2007/10/alls_well_that_ends_well.html
The concept of the eternal outsider certainly seems relevant to Ennis... or to how Ennis probably felt by the end.
moremojo:
If you can direct me to the results of your searches, Amanda, I'd be able to tell you if anything you found matches the closing shot of that film.
Brown Eyes:
--- Quote from: moremojo on February 20, 2008, 02:29:42 pm ---If you can direct me to the results of your searches, Amanda, I'd be able to tell you if anything you found matches the closing shot of that film.
--- End quote ---
Hey Friend,
I just altered my post above (I think as you were posting your reply!) to show the best match that I found in my quick little websearch.
Thanks!
Navigation
[0] Message Index
[#] Next page
[*] Previous page
Go to full version