There a some really good observations Amanda
.
The happy tussle scene is first presented to the viewer as a long-shot, simply observing Jack and Ennis's romp from quite a distance. It's only after the camera swings around and we see that we were actually inhabiting the place of Aguirre from behind his binoculars (with large, powerful lenses) that we understand how we were able to see the boys' romp.
My reaction to this swing of the camera was first a sharp intake of breath, like OMG, Aguirre is watching them, they're caught. Followed by a vague sense of being the voyeur myself, almost feeling guilty about it.
There are lots of much later camping scenes that employ long shots... and also the device of muffled voices... of Jack and Ennis talking to one another without the viewer being able to hear clearly.
It's such an unusual filmming strategy. I really do wonder if this is really meant to make the viewer feel like an intruder on these private moments... or moments that Jack and Ennis really want to keep as private and personal.
Yes, definitively. The long distance shots are one way Ang Lee demonstrated this to us. Lee himself often emphasized how sacred their relationship is to them, and that they
want to keep it private because it is so precious. I think keeping it a secret was both, a curse and a blessing. It was a curse because they were forced to keep it secret and it took its toll over the years (think of the lake side argument). But especially in the earlier years it was also a blessing, it was at least partly
wanted by them because it made it even more special, sweet and sacred. A sweet secret.
One question I have in relation to this observation is, do we think that those earlier "long shot" moments can be taken as indications of moments when Aguirre was watching them (with us in Aguirre's shoes and watching through his vantage point)? Or, more simply put, was the happy tussle the first time he watched them? Or did he start watching earlier.
Referring to the short story he didn't:
"They believed themselves invisible, not knowing Joe Aguirre had watched them through his 10X42 binoculars for ten minutes one day, waiting ..."I think this is exactly what Ang Lee wanted to show us, I don't think he intented to hint that Aguirre (or someone else in the later years) watched them. We (the audience)are the voyeurs, but even we are not allowed to see and hear everything. Restraint, as so often with Lee. He doesn't expose everything of the boys, in parts he allows them to keep their privacy, their secret.
I know I'm mixing different viewpoints in the last sentence; the outside viewpoint from a moviemaker's position, and the viewpoint from within the story, where Ennis and Jack are real. But I think that's just what Ang Lee did (and every movie making person should do, be it actor, screenwriter or director): thinking about how something effects the audience and thinking
inside the logic, the circumstances of the story.
