Very good thread! I've always loved this layered shot of Alma through both the nursery and kitchen windows:
Great minds and all that!
Earlier today I noticed this one is missing. Well, there are more, I'm sure, but this came to my mind most prominently. I went to Stripedwall and found it, but then photobucket didn't load for me, so I couldn't share.
Another thought I had:
Windows both seperate and connect one world (outside) with the other (inside).
When Ennis and Jack have their reunion, Alma sees them, but is seperated through a screen door (just as semi-permeable as a window).
Ennis watches Junior walk walk back to and enter the house in which she lives, while Ennis is both, locked
out of the house, and
inside the car.
Ennis is very often seen inside, glancing (sometimes longingly) outside. We've noted that before. But then there's this shot:
Ennis leaving the post-office after returning Jack's first card, saying "You bet."
Ennis is outside, and this is stressed (in opposite to the mountain scenes, where "outside" is regular) by the fact that we, the viewers suddenly are on the inside and watch Ennis being out. Of course not "out" in the sense of sexualitiy, but rather "outgoing", daring something, getting over himself. I think all this is reflected by the way Ang Lee shot this view.
