lovable subtle details

[Brown Eyes]

New detail... And, I don't remember this one being commented upon before.  I've begun increasingly to notice the background details in the bar scene right at the beginning when Jack and Ennis are getting to know each other following the intial meeting with Aguirre.  I LOVE the fact that there's a dart board right behind Ennis's head.  It really is right behind his head... so you only notice it on occasion when he moves his head or when the camera shifts.  I like thinking of those darts as cowboy versions of cupid's arrows.  And all those darts are pointing towards Ennis as if they've come from Jack's direction.  I also quite like the lasso that's behind and to the side of Ennis (it's much more visible and is hanging on the large bull's skull on the wall).  The spirals of rope next to Ennis's head seem to indicate that all sorts of complicated things are going on inside Ennis's mind (that he might be tangled in knots, metaphorically speaking, in certain ways).  In contrast, Jack is very noticeably sitting in a bright ray of sunshine.  Or the ray of sunshine frames him from behind.  He's clearly in the position of the "beloved" here or the object of Ennis's emerging attraction.

 

[starboardlight]

New detail... And, I don't remember this one being commented upon before.  I've begun increasingly to notice the background details in the bar scene right at the beginning when Jack and Ennis are getting to know each other following the intial meeting with Aguirre.  I LOVE the fact that there's a dart board right behind Ennis's head.  It really is right behind his head... so you only notice it on occasion when he moves his head or when the camera shifts.  I like thinking of those darts as cowboy versions of cupid's arrows.  And all those darts are pointing towards Ennis as if they've come from Jack's direction.  I also quite like the lasso that's behind and to the side of Ennis (it's much more visible and is hanging on the large bull's skull on the wall).  The spirals of rope next to Ennis's head seem to indicate that all sorts of complicated things are going on inside Ennis's mind (that he might be tangled in knots, metaphorically speaking, in certain ways).  In contrast, Jack is very noticeably sitting in a bright ray of sunshine.  Or the ray of sunshine frames him from behind.  He's clearly in the position of the "beloved" here or the object of Ennis's emerging attraction.

 

wowie, great observations Amanda. I'll look for it this coming Monday. 

[Brown Eyes]

thanks starboardlight!

I'm in love with that dart board... and that ray of light at the moment.

There's another detail that I love about the beginning of the film (it's way off topic from the early bar scene).  I LOVE that there are no credits at the beginning of the movie.  Leaving all the credits until the end wonderfully lulls the viewer into the pace and mood of the film immediately.  I love that Lee allows the scenery and the gorgeous score to do all the work here... and doesn't let something as mundane as credits break into this.

[starboardlight]

thanks starboardlight!

I'm in love with that dart board... and that ray of light at the moment.

There's another detail that I love about the beginning of the film (it's way off topic from the early bar scene).  I LOVE that there are no credits at the beginning of the movie.  Leaving all the credits until the end wonderfully lulls the viewer into the pace and mood of the film immediately.  I love that Lee allows the scenery and the gorgeous score to do all the work here... and doesn't let something as mundane as credits break into this.

i took note of that too, right from my first viewing. People do opening credits just because it's tradition, but Lee breaks away from that. The establishing shot of the layered land scape along with those two distinctive lone notes really set the mood and tone for the movie. I agree doing a title sequence would really interrupt that. It's one of the most memorable opening shots in my recollection.

[Penthesilea]

thanks starboardlight!

I'm in love with that dart board... and that ray of light at the moment.

There's another detail that I love about the beginning of the film (it's way off topic from the early bar scene).  I LOVE that there are no credits at the beginning of the movie.  Leaving all the credits until the end wonderfully lulls the viewer into the pace and mood of the film immediately.  I love that Lee allows the scenery and the gorgeous score to do all the work here... and doesn't let something as mundane as credits break into this.

It took me 4 or 5 viewings before I noticed this. You're both right, I think it helps to draw the viewer into the movie right from the get-go.
At my first vieweing I couldn't believe this was more than two hours. And on my second viewing, my third...
I can't understand why some people find it (too) long and too slow. I always plan to pay more attention to  details, esp. to details I read about and haven't notived before. Meanwhile I succeed for the first part of the movie, but then I get lost again. Esp. the last third is still too devastating to be able to recognize anything beyond the obvious through the tears.
So I'm searching the screencaps for details again and again 

[David]

Tell you what, I just noticed something new yesterday too. 

In the Thanksgiving scene at Monroes house.  Right when Ennis is storming out of the house, you'll see a picture hanging to the left of the front door.   It is of the snow capped Mountains!     Ennis making a fast exit to the mountains?   From the suspicious eyes of his ex-wife to the lure of the mountains where he was happy with Jack....

Sigh......(wipes Tear)   

[belbbmfan]

In the Thanksgiving scene at Monroes house.  Right when Ennis is storming out of the house, you'll see a picture hanging to the left of the front door.   It is of the snow capped Mountains!    

Hi david,
I noticed it too, but only after I read a post by Casey Cornelius about it over on imdb.  I've only seen the movie in the theater (12 or so times) because I don't have the dvd yet, but honestly, I get so swept up by all the emotions I'm going through that I 'm not in the right frame of mind to pay attention to all the sublime details. A prayer of thanks to all the people who actually do and are so kind as to tell you about it.
Here's the link to casey's post: http://www.imdb.com/title/tt0388795/board/thread/43227111?d=43227111#43227111

[David]

I wasn't quite sure where to post this pic.     This appears to be a pic taken during rehearsal of the last night drinking.   The final scene was shot later and Jack had a coat on.

[alec716]

Talk about subtle details... notice the ironed crease in Jack's newer jeans, in contrast to Ennis' more rumpled demin... Jack did really move up a notch or two economically, and it shows in the details.  I also remember noticing that his parkas and vests got more expensive and newer while Ennis' coats were worn and worn and worn.

thanks for the picture.

[David]

Oh most definitely!    You really see the economic gap widen between Jack and Ennis through out the movie.   Jacks new jeans are a good example.  He also has several different cowboy hats, all in great shape, unlike the well worn ones Ennis has.      Jack always has a new pickup truck.  Ennis has an old beat up one.   

Yup, the Twists are doing just fine.  But I'm sure Jack would give up every dime to live with Ennis in a shack.