Rearview

[Front-Ranger]

Someone on the ABCs game pointed out that there was a pair of foam dice hanging on Aguirre's rearview mirror when he drove up to the trailer that first fateful day. And shortly after that he calls Ennis and Jack a pair of deuces going nowhere.

Then, when they were at the motel, Jack tells Ennis that he saw a big-ass pair of binoculars hanging off of Aguirre's rearview mirror when he went back seeking employment for a third summer. That's three sets of lenses in close proximity, so methinks it must mean something. Your thoughts?

[serious crayons]

Well, someone suggested that the binoculars symbolize the prying eyes of society. But I've never seen them connected to the dice and the deuces! Interesting observation, Lee, as usual. 

[Front-Ranger]

That sounds logical about the binoculars. I'm interested in cataloguing the various appearances of the rearview mirrors, because they seem to be signposts in the movie. And noting what is draped on them. This calls for a new viewing of the movie, backwards, forwards and sideways!! I'm up for it; it's been about 2 weeks since I've seen it. Let's see, the first appearance is of course when Jack shaves while catching surreptitious views of Ennis.

[2robots4u]

The scene of Jack shaving and catching "surreptitious views" (quoting  Front-Ranger) of Ennis has always bothered me for this reason:

Given the location of the truck and the angle of inclination between it and Ennis's position, factor in the year of the vehicle when rearview mirrors did not have a great latitude of movement, how it is possible that Jack had such a magnificent view of Ennis?

There are no dice hanging from the rearview mirror of Aguirre's car the first time we see it, and on Jack's next visit to the trailer, the car is already in place and nothing of the front of it is visible.  Actual, the only reference to dice that I recall is when Aguirre referrs to the guys as a "pair of deuces"; the actual line is "You pair of deuces lookin' for work I suggest you get yer scranny asses in here, pronto."

[nakymaton]

2robots4u: I am in complete awe of somebody who can work out the angle of Jack's mirror and figure out whether it could possibly show a reflection of Ennis. That's some amazing spatial thinking.   Bummer that being able to notice things like that bothers you, though, because that view of Ennis in Jack's mirror is a really cool movie shot, IMO.

About the dice/deuces -- it had never occurred to me that deuces could be related to the dice. When I heard the line, I thought of poker, not craps, and of how a "pair a deuces" is nearly the worst hand you could end up with in poker. Life dealt both boys a pretty rough hand.

(No, wait, there's worse hand, isn't there... no pairs at all.)

[serious crayons]

Given the location of the truck and the angle of inclination between it and Ennis's position, factor in the year of the vehicle when rearview mirrors did not have a great latitude of movement, how it is possible that Jack had such a magnificent view of Ennis?

You're probably right, but unlike some of the other bloopers, I can chalk that up to filmmaker's license and excuse it.

(No, wait, there's worse hand, isn't there... no pairs at all.)

Good one, Mel. That's the hand they got dealt in the end, hunh? 

What does "deuces" mean? Is it simply slang for "aces" or is there more to it? Does the fact that Aguirre refers to them as a "pair" in the very first line of dialogue hold any significance?

[nakymaton]

What does "deuces" mean? Is it simply slang for "aces" or is there more to it? Does the fact that Aguirre refers to them as a "pair" in the very first line of dialogue hold any significance?

Isn't a deuce a two? So a pair of deuces is a pair of twos? Ace, deuce (trey? I've never heard slang for "three")?

http://dictionary.reference.com/browse/deuce

I figured that "pair of deuces" meant "pair of twos"... each one the lowest value card in poker. So cards that aren't worth much individually?

(And I don't even play cards. I, ummm, have a lousy poker face and I usually end up throwing the cards at the other people. And that's playing "Go Fish" with the three-year-old. I'm slightly better about solitaire.)

[serious crayons]

Isn't a deuce a two? So a pair of deuces is a pair of twos?

You're right again! No wonder I always lose at poker. (And I must not know my romance languages very well, either  )

Well, in any case, it's interesting that Jack and Ennis were already paired up in the first three words of the movie.

[2robots4u]

nakymaton...thanks for thinking I was mathmatically inclined, but I was actually being funny with all the math lingo.  It doesn't bother me as in not liking it, but more on the line of "hey, that's not possible. And, yes, as with all the other bloopers, I let it go.  The view is worth the bloop!  And trey is the proper term for 3.  I did confuse dice w/cards, as I don't believe I've ever heard the 2 on dice called "deuce".

Yes, "deuce" refers to the number 2 card in the deck, while "ace" refers to the 1st card (lowest value), or the highest value, depending on the game you are playing.  I think Aguirre's comment would have made more sense if he had said "pair of aces", indicating there are 2 singles equalling a pair.  

[serious crayons]

I think Aguirre's comment would have made more sense if he had said "pair of aces", indicating there are 2 singles equalling a pair.   

True, but that line wouldn't be scornful enough for Aguirre. 

[Brown Eyes]

I have no real helpful insight into the nuances of the dice/poker/card metaphor.  It reminds me of the same kind of comment as the "ever try calf roping" statement from the bartender in the Jimbo scene.  The thing that really does strike me is the use of the word "pair".  It's interesting that we're encouraged to see them as a couple from the very beginning... even if that encouragement comes in the form of an insult from Aguirre.  I noticed too how often Ennis uses the pronoun "we" during the Brokeback summer.  As in "what are we supposed to do now..." and "what if we need to work for him again..."   I think Ennis was thinking of Jack as his partner by the time he made these statements (even if he wasn't admitting it to himself in his own head explicitly yet).  He seems to really be thinking of them as a "pair" or a couple that will persist into the future.



Well, a topic has been on my mind for a while and it seems to fit well enough in this thread, so I think I'll give it a try here.  It begins with the binoculars (I wonder why for the film these are transfered into Aguirre's office from his car... I guess for one thing it gives them more visual prominence since we only get a glimpse of his car).  It seems to me that the metaphor of binoculars has something to do with the idea that not only Aguirre but anyone, including the movie viewer, who is witnessing the relationship between Ennis and Jack is in the position of a voyeur or an intruder into something very private.  We inhabit Aguirre's viewing position at least twice.  Lee forces us to watch the happy tussle through Aguirre's binoculars (as if we're inside his head and seeing with his eyes through the binoculars).  And again, during the disappearing log scene, we inhabit Aguirre's viewing position and see through his binoculars when we glimpse Ennis up on the mountain with the sheep over his lap on the horse.  The movie viewer again inhabits the position of an intruder during the reunion kiss.  We see Ennis and Jack kissing from an elevated distance only after Alma opens the door and we briefly see what she's seeing (from her position).  Sometimes we, the viewers, are given more privileged access... for example, earlier in the reunion kiss we're right there with the boys up-close and personal.  The moments when we are too far away from the boys to hear what they're saying... or the abrupt cuts away from scenes of their interactions in later camping trips... and even our difficulty in understanding their whispers in TS2, I think are all meant to make us feel like intruders.  That, even if we're benevolent and happy for them, we're still intruding on something "private and precious" (as Lee would say).

But, the binoculars and the oblique views through mirrors seem to be about making the movie viewer really aware of what viewing position we're inhabiting at any given moment and which character we're supposed to be identifying with at a given moment.  It seems that usually when we see something in the rearview mirror we're seeing through Jack's eyes (the shaving scene and the sad view at the end of the '63 summer that Jack gets of Ennis on the road out of maybe the same rearview mirror as the shaving scene).  Binoculars are really only associated with Aguirre, etc.  Windows seem to be associated with Ennis.  Even on Brokeback when he's in the tent whittling during the rain storm we see him look out the tent opening as a stand-in for a window.  Interestingly, Lee usually seems to prevent us from seeing exactly what Ennis is seeing out the windows or tent opening.  We're usually too far away from the window or we're positioned at an oblique angle to the window so we can't see exactly what he sees.  One exception here is the reunion scene... when Jack arrives we see through his eyes, through the window, that Jack is finally here.  He's probably always sort of looking for Jack out those windows... or at least daydreaming.

I don't know what to make of these observations really... Just food for thought.
 

[serious crayons]

Wow, Amanda! You are really making up for lost time tonight! If you'd taken TWO days off, there'd be no keeping up. There are a lot of great observations here.

I noticed too how often Ennis uses the pronoun "we" during the Brokeback summer.  As in "what are we supposed to do now..." and "what if we need to work for him again..." 

Good one!

The moments when we are too far away from the boys to hear what they're saying... or the abrupt cuts away from scenes of their interactions in later camping trips... and even our difficulty in understanding their whispers in TS2, I think are all meant to make us feel like intruders.  That, even if we're benevolent and happy for them, we're still intruding on something "private and precious"

I like this. That does go a long way toward explaining why so much of their dialogue and other stuff is hard to hear or far away ("look what I brought") or even (as in the hand-holding) hard to see. One example of this that always gets me is during the hailstorm. First, you can barely hear what they're saying. Then they take the opportunity to go into the tent together. And instead of letting us join them in there, they close up the tent flaps, as if it's their own private business.

It's another explanation, along with the "never enough time" theme, for Lee not letting us see many of their private affectionate moments. Again, though, I would say he may have gone a bit overboard ... 

Even on Brokeback when he's in the tent whittling during the rain storm we see him look out the tent opening as a stand-in for a window.

Right! I'd never thought about that one before, but add it to the list.

He's probably always sort of looking for Jack out those windows... or at least daydreaming.

Whenever he thinks about Jack his eyes sort of automatically drift to whatever windowish thing there is available (outside the tent, off into the distance when he's spreading tar, etc.). The only exception I can think of is in the bedroom scene with Alma. There, his wistful gaze off to his right and the howl of wind have to stand in for a window.

Hey! When he thinks of Jack, he looks around for a ... WINDow!

[Brown Eyes]

When he thinks of Jack, he looks around for a ... WINDow!

LOL!  That's very deep Katherine.
 
But it also seems true...
  

Wow, Amanda! You are really making up for lost time tonight!

LOL, again.  Yup, I felt guilty... like I'd been neglecting my bettermost duties (my bettermost sheep if you like...), so I figured I'd better get back here and post, post, post!
 

[Front-Ranger]

Thank U for these insights Amanda. I will view the movie again this weekend in a new light.

[Brown Eyes]

Thanks Lee!

So here's a question... why is Jack associated with rearview mirrors? 

He's the only one that is seen using it (I think?) and in both cases we see him using it to view Ennis.  Is it correct to assume that we even see him using the same rearview mirror in each case?  Isn't he shaving using the driver's side mirror?  And it is interesting that in each case we're given a camera angle view of the mirror that would only be possible if we are supposed to be in the position of Jack (seeing through his eyes).

[serious crayons]

So here's a question... why is Jack associated with rearview mirrors? 

And Ennis very explicitly DOESN'T look in his rearview (that is, look back at Jack) the many times he rides away in his truck or on horseback.

[Mikaela]

So here's a question... why is Jack associated with rearview mirrors?

Or is it Ennis who is associated with the mirrors? I remember one BBM review that made a point of Ennis being so often seen through mirrors, being confined and restricted by the finite and small spaces those mirrors create.

It may have to do with reflections - what he wants to reflect vs. what he does reflect - especially to Jack, perhaps?  But it might perhaps also have something to do with the "real" Ennis being hidden from view or so inaccessible that he sometimes can only be studied indirectly - when he's not aware of it?

I'm as yet undecided what I think is the intended interpretation but I have been pondering this a bit.

The rearview mirrors at the beginning and end of their time on BBM are obvious bookends...




And here, for good measure, are a couple of other Ennis-in-mirror instances. Yes, I know the last one is from an outtake so feel free to completely disregard it. 

[Brown Eyes]

And Ennis very explicitly DOESN'T look in his rearview (that is, look back at Jack) the many times he rides away in his truck or on horseback.

Yeah, that's a good contrast between Jack and Ennis.  In the flashback when Jack turns around to watch Ennis ride away... it's almost like a "rearview" gesture (since there's no mirror available)... It's a gesture of looking back or letting his gaze linger for a longer amount of time.  And, of course, like you say this is precisely a moment when Ennis doesn't look back.  So, my question remains... Why?  Is it a question of being sentimental?  

It's interesting that despite Jack looking back (especially in the scene where he's driving away and sees Ennis on the road at the end of the '63 summer) he misses out on some crucial information.  He misses the crucial moment of seeing Ennis duck into the alley to cry.  If he had kept his gaze on that mirror a bit longer and had seen that... maybe things would be different (another minute moment of missed opportunity?).  So, in turning to watch Ennis ride away in the flashback is he also still missing out on some kind of knowledge about Ennis?  And, in never seeming to look back, are we supposed to think that Ennis is missing out on some level of understanding about Jack?

[Brown Eyes]

Or is it Ennis who is associated with the mirrors? I remember one BBM review that made a point of Ennis being so often seen through mirrors, being confined and restricted by the finite and small spaces those mirrors create.

It may have to do with reflections - what he wants to reflect vs. what he does reflect - especially to Jack, perhaps?  But it might perhaps also have something to do with the "real" Ennis being hidden from view or so inaccessible that he sometimes can only be studied indirectly - when he's not aware of it?

Wow, Mikaela!  Great post and thanks for those visual aids!  I think you were posting your response as I was posting my last post.  Anyway, this seems to be an interesting nuance... Jack is the one who looks in the rearview mirrors whereas Ennis is the one who is shown/seen/depicted in those mirrors.  Yes, I think the reflection of Ennis is maybe a metaphor for how difficult it is to see the "real" Ennis or the "interior" Ennis.    And, I think what I said in my last post goes nicely with some of your points... Information is so difficult and inaccessible about Ennis that even when Jack does look back he misses the vital bit of information (really based on timing) about Ennis crying.  From Jack's viewpoint in the rearview mirror, Ennis looks upright, stoic, casual and comfortable.  His vertical silhouette in Jack's mirror is almost the opposite of the crumpled, crying mess of an Ennis that we see in the alley way.

[Front-Ranger]

I like what U say, Mikaela and Amanda...plus Ennis as seen in the mirrors usually has some kind of obstruction. His hat over his face, or a toothbrush in his mouth. In addition to him being seen as a reflection, he is also often seen looking out of windows, as if he is boxed in and looking to get free. But the boxes and frames are created by himself, he has boxed himself in. In his words, "I'm caught in my own loop."

[serious crayons]

It may have to do with reflections - what he wants to reflect vs. what he does reflect - especially to Jack, perhaps?  But it might perhaps also have something to do with the "real" Ennis being hidden from view or so inaccessible that he sometimes can only be studied indirectly - when he's not aware of it?

Nice post, Mikaela. And may I add, very lovely illustrations! 

Seems like in most movies when a mirror appears, it signifies a character contemplating some previously unrealized aspect of his/her own identity. You'll see the person staring into the mirror when they've gone through some kind of big change, or discovered something new about themselves, or done something that's out of character for them. Like, say, they've just killed someone and are now confronting their new identity as a murderer.

Ennis isn't doing any of those things (though if there had been a mirror in the tent the morning after TS1, I bet he'd be looking into it! In that case, I think looking out the tent flap at his "new world" stands in for the mirror contemplation). Still, the identity thing does apply to Ennis. He has two identities: his "real" self and the image he presents to everyone else.

This is particularly shown in the photo in your post in which Ennis and his mirror image bracket Alma. There, she's simultaneously confronting the two different Ennises -- the one she already knew about and the one whose existence she has just discovered.

[jpwagoneer1964]

It's interesting that despite Jack looking back (especially in the scene where he's driving away and sees Ennis on the road at the end of the '63 summer) he misses out on some crucial information.  He misses the crucial moment of seeing Ennis duck into the alley to cry.  If he had kept his gaze on that mirror a bit longer and had seen that... maybe things would be different (another minute moment of missed opportunity?).  So, in turning to watch Ennis ride away in the flashback is he also still missing out on some kind of knowledge about Ennis?  And, in never seeming to look back, are we supposed to think that Ennis is missing out on some level of understanding about Jack?

If only Jack saw.

[Front-Ranger]

An interesting camera angle in the scene where Ennis is comforting his bawling children. If you look out the window in the children's nursery, you can see through another window to Alma working at her laundry.

[Artiste]

I know that every day that I rearview Annie's story and the BM movie, and my life too!!

Life to me is... duality. Ennis and Jack!! One duality, like in each of my paintings I create on canvas. Let me explain:
I rearview with sadness like Jack is then going away from Ennis, and with hope too as he seeks to help Ennis going towards him again - all that... like when Jack looked in his rearview mirror after leaving Ennis after they both came down from their work on Brokeback Mountain, that is sadness or tempest as in one way is a landscape in my painting! And, I am happy that he stopped his truck and came to see Ennis, that is hope... but Ennis rejected being too sad and/or perplexed!!?? A tempest scene!

On the other hand, in each of my paintings, there is also hope. Tranquility of a landscape. When Jack arrives for his 2nd year job, he sees in reaview Ennis since he has an immediate crush on the newcomer (soon he will find out to be Ennis)!! Jack's colours are bright with hope... as he looks in a mirror shaving... looking at Ennis!! A tranquill scene!

I always present two landscapes in each of my paintings... two scenes: tempest and tranquility!! I find that Annie does too, in her writing: Brokeback Mountain!! Annie does also rearviews??

Hugs!

[elomelo]

I know that every day that I rearview Annie's story and the BM movie, and my life too!!

Life to me is... duality. Ennis and Jack!! One duality, like in each of my paintings I create on canvas. Let me explain:
I rearview with sadness like Jack is then going away from Ennis, and with hope too as he seeks to help Ennis going towards him again - all that... like when Jack looked in his rearview mirror after leaving Ennis after they both came down from their work on Brokeback Mountain, that is sadness or tempest as in one way is a landscape in my painting! And, I am happy that he stopped his truck and came to see Ennis, that is hope... but Ennis rejected being too sad and/or perplexed!!?? A tempest scene!

On the other hand, in each of my paintings, there is also hope. Tranquility of a landscape. When Jack arrives for his 2nd year job, he sees in reaview Ennis since he has an immediate crush on the newcomer (soon he will find out to be Ennis)!! Jack's colours are bright with hope... as he looks in a mirror shaving... looking at Ennis!! A tranquill scene!

I always present two landscapes in each of my paintings... two scenes: tempest and tranquility!! I find that Annie does too, in her writing: Brokeback Mountain!! Annie does also rearviews??

Hugs!

That's beautiful, Artiste! I think duality is a huge element in the story and the movie, more visual in the movie obviously. I think this has been said in another thread - the ying yang element? Jack and Ennis are missing elements of each other. Jack with his happiness and urge to chase his dreams while Ennis is more grounded and cautious.

As is tempest and tranquiliy! Hugs back!

[serious crayons]

Bumping as a shout out to the days when we used to hyperanalyze every detail -- and it always paid off! 

I was actually looking, originally, for an early discussion of the tar-spreading scene, which was my "Helen Keller at the water pump" moment of realizing how complexly nuanced this film was. If anyone knows of a thread about that, please bump! 

[Front-Ranger]

Looking in on this thread in honor of the ninth anniversary of the opening of the movie. Some interesting observations here about windows, binoculars, mirrors (rearview and otherwise) and lenses in general. But I don't think we've finished scoping out the subject! Anything you would like to add?

[CellarDweller]

The rearview mirrors at the beginning and end of their time on BBM are obvious bookends...

Hmmmm..........a doorway to and from "their place".

Didn't Lureen call Brokeback a 'pretend place'?

Possible connection to Wonderland, where Alice got to by going through the looking glass?

[Front-Ranger]

Chuck, what an insight! And what a great idea to wake up to! I've never realized that about the mirrors before...thank you! 

[dontinterrupt]

hi guys, I would like to contribute my take on the "pair of deuces" discussion. I don't know, I might be the only one to interpret it like this, bu to me a deuce=a number two= simply put, SHIT. Since hearing it for the first time in this movie, I never really questioned it, just thought Aguirre called them 'pair of deuces' to signify they are just that - shit, worthless nobodies (in his own ignorant opinion only of course!). And in the story it read "pair of deuces going nowhere", which kinda confirmed it for me that's what it meant- young people with no future, no prospects, 'going nowhere'.

I'm dying to find out what you guys think   

[serious crayons]

Hmm. I'm not sure. "Pair of deuces" is a familiar expression, but it's not inconceivable that she was playing with the words, like she does. And it certainly would describe their situation in life at that point.

My son sometimes calls shit "dookie." Maybe that's where that term comes from.

Keep up the good analysis, dontinterrupt! 

[coffeedrinkintexan]

hi guys, I would like to contribute my take on the "pair of deuces" discussion. I don't know, I might be the only one to interpret it like this, bu to me a deuce=a number two= simply put, SHIT. Since hearing it for the first time in this movie, I never really questioned it, just thought Aguirre called them 'pair of deuces' to signify they are just that - shit, worthless nobodies (in his own ignorant opinion only of course!). And in the story it read "pair of deuces going nowhere", which kinda confirmed it for me that's what it meant- young people with no future, no prospects, 'going nowhere'.

I'm dying to find out what you guys think   

I would agree with that. Pair of deuces is the lowest possible poker hand outside of having absolutely nothing. I absolutely think Aguirre meant it as an insult to both of them. Like, "if you two losers are looking for work...."

Pretty sad phrase, both in movie and story.