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Modesty/ Changes in TS2 - screenplay vs. film

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Jeff Wrangler:
Talk about mundane, but here it goes:

In the finished version, each of the four principals, Ennis, Jack, Alma, and Lureen, has one nude scene (maybe seminude--topless--is more accurate for the women). Then Ennis and Jack have one nude scene together (jumping off the cliff)--although we might presume they are nude in the bed in the motel.

So if Jack had been visibly and obviously (to the audience) completely nude in TS2, he would have had two nude scenes (not that I would have been bothered  ;D )--not to mention that Ennis was nude in the background, while Jack peeled potatoes, while Jack's nude scene, doing the laundry, is pretty clear in focus.

Was this sort of thing an acutal consideration? I sure don't know, but I think it's interesting that it worked out this way.

optom3:

--- Quote from: atz75 on March 01, 2008, 04:03:34 pm ---
Yes, I agree that this scene is pretty much perfection and I'm sure the final cut here in the film has a lot to do with a kind of indescribable chemistry and mood in one particular instance of this scene that probably couldn't happen in every single take.



--- End quote ---

Have to say I agree too.
But I also think TS1 had  such raw,violent out of the blue sex,that I  TS2 had to be more tender.I would of course been a very happy bunny to see more naked flesh,I just feel the sheer heartwrenching tenderness would have been lost.There is something more considered and tender in the 2nd scene.The shyness and hesitancy we see from Ennis,coupled with the, its allright from Jack ,just works so well.It almost seems as if this is the real start of their relationship.We go from unadulterated sex and passion,random ,and verging on violent,to the beginnings of a real connection and love.

Personally I would have been distracted from this by a naked Jack!!!!!

It almost compares to the motel scene,where we assume they are naked,but are seen only from the chest up.This allowed (me anyway) to concentrate again on the tenderness.The subtle rub of Jacks' arrm by Ennis.Again this scene followed on from the sheer passion and again verging on violence of their reunion kiss.

Perhaps it boils down to contrasts yet again.Passion followed by tenderness,in both the tent scenes and again in the reunion scenes.A rollercoaster ride,where all you can do is .hold onto your heart and emotions .Hoping you'll come out in one piece. I didn't !!!!!!!!!

Brown Eyes:
Thanks for all these great posts Friend!  :D  I think it's interesting to actually try to focus a bit on the screenplay... it's such an interesting thing... we talk a lot about the film and about the story... but the screenplay is this ambiguous thing in the middle.  That, in many ways, is hard to interpret.  It seems particularly interesting to think of this question in terms of the (silly) Oscars since the screenplay is the thing that won along with the direction (and of course the music).  To try to dissect ways that the screenplay interacts with the acting decisions by Heath/Jake (others) as well as Ang Lee's direction seems very complex. 

With these spare descriptions in some aspects of the screenplay, it really is illuminating to realize how much of the action was either improvised by the actors or prescribed by Ang Lee.



Anyway... for comparison's sake... here's how TS1 is written:

INT: BROKEBACK MOUNTAIN, WYOMING: CAMP: TENT: DARK, JUST BEFORE DAWN: 1963

Both are warm inside JACK'S bedroll.

JACK is wide awake now.  ENNIS, on his back, is half-asleep.

JACK, tentative, takes one of ENNIS'S big hands from outside the bedroll and guides it inside, down towards his own groin.

ENNIS, coming full awake, realizes where his hand is... jerks it away as if he's touched fire.

                            ENNIS
                    What're you doin'?

JACK moves towards him.  Takes off his jacket, unbuckles his pants.

Then ENNIS flips JACK around.  Unbuckles his belt, shoves his pants down with one hand, uses the other to haul JACK up on all fours.

JACK doesn't resist.

ENNIS spits in the palm of his hand, puts it on himself.

They go at it in silence, except for a few sharp intakes of breath.

ENNIS shudders.

Then out, down, as both fall asleep.



This is particularly interesting because it's almost all direction and no dialogue.  And, it's also interesting to note the places where there's almost excessive detail (like why both calling Ennis's hand "big"?) and where details aren't spelled out that we see in the film.

And, it's fun to see the places where the screenplay text is almost exactly Proulx's writing.

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