Thanks Chrissi and K!
Thanks for these suggestions. I think the Randall/ bench scene certainly could be seen as some kind of bookend to the sinner/opportunity scene. I think this one, though, is particularly difficult to figure out because the exact nature of the dynamics in the sinner/opportunity scene is particularly ambiguous, I think.
Chrissi, I love the pic of Ennis in the mirror. It's such a perfect visualization of the idea of palindrome or mirroring. But, I also think that compelling argurments can be made that the swingset scene with the inkblot pattern on the swingset is the center point. Either way, these two scenes (Ennis in the mirror and the swingset) are close enough together in the structure of the film that both come near the center.
And, K, I'm curious about how you see Jack in Ennis's role in the bench scene?
To me both the sinner/opportunity scene and the bench scene are about folks flirting with Jack. And, this is based on my sense that Ennis's "ain't yet had the opportunity" line is his fumbling attempt at flirting (and he may only be semi-aware of it anyway). I think there are lots of other ways to interpret that line, so it's certainly tricky. If the bench scene is the bookend, it's interesting that Randall's activity of flirting is significantly amplified.
One thing I really like about the suggestion of the bench scene as the bookend is Jack's lack of verbal response in each case. Jack does not verbally respond to Ennis's "ain't yet had the opportunity" and he also does not respond verbally to Randall on the bench. Both conversations are sort of left dangling.
But, I still think that the "mating call" scene functions in a similar way to the "opportunity" and bench scenes. Timing-wise it probably comes too early in the film to be a perfect echo to the "opportunity" scene. But, it's interesting here too... in an instance where someone is flirting with Jack, he does not reply verbally. He turns his head and looks, but doesn't immediately respond.