Out Among The Directors

[MadMan]

Or simply put, a thread about my exploration of director filmographys. I spent last year trying to do that as best as I could, and I would love to play catch up. Plus I was endlessly bugged by certain posters about certain things, such as why I'm woefully behind on seeing certain movies, and of course the fact that I don't post reviews here, although that can be blamed on me trying to endlessly draw traffic towards my blog, which is a huge pet project of mine despite earning nothing from said venture. So um, yeah here's a review. Wahoo.

Hard Eight (1996, Paul Thomas Anderson)

http://theoscarboy.files.wordpress.co m/2012/04/hardeightdvd-037.jpg?w=610

With sparse and concise opening credits, Paul Thomas Anderson's Hard Eight (1996) is a rather straightforward film debut for a college washout. Its also a great one, even if some do not think so, an engaging and well crafted movie that owns a bit of inspiration to the Jean-Pierre Melville 1956 classic Bob le flambeur, another movie about a gambler who is forced into a hard situation by the people he cares about. Where as in that film one such people betrays him, in Hard Eight elder gambler Sydney benefits from aiding young John and Clementine, two people in love. Or at least they think its love-after all they dwell in Reno where drunk people get wedded all the time. Its too close to Vegas.

Anderson utilizes numerous usual tricks of the trade, such as a nice tracking shot that follows Sydney through a casino room that, as most casino rooms are, brightly lit by false light yet surrounded in darkness. There are no windows and time passes without notice unless you have a watch and finally tire of losing your money at the slot machines or get busted at blackjack and poker. Its interesting how John seems to prosper, where as Sydney in one scene featuring a cameo by Philip Seymour Hoffman, as a crude, taunting and foul mouthed tourist who bests Sydney at "Hard Eight." Losing two grand, especially to someone who knows nothing of Vegas and Reno customs, who has little respect for elders and the rules, has to hurt.

http://media-cache-ec0.pinimg.com/736x/cf/da/b3/cfdab3210bb0ac759a5dca022487bd cb.jpg

What a cast this film has: the always excellent Philip Baker Hall,; the underrated John C. Reilly, who handles some of this movie's bits of humor well; gorgeous Gwyneth Paltrow, and cool as ice Samuel L. Jackson. I'll admit I felt a little awful when I laughed at Hall's nasty "Hooker school" retort to Clementine, yet its an odd moment amongst a set up gone horribly wrong. Even though I saw certain events coming, I rather liked the final scene. I'm not sure its how I would have ended the movie, but this is why I'm not a Hollywood director and Paul Thomas Anderson has a huge fanbase and Oscar nominations.

Of course the reactions to my liking of this movie are that its not a particularly good film, and that I'm in for better things to come. I'm aware of this based on how much praise PTA's other movies have received, however I still loved Hard Eight and enjoyed it as a great first film (if you don't count his short films, which I kind of don't just because they are hard to get ahold of). I do look forward to watching the rest of his filmography, particularly since some of them are also available on Netflix Instant Viewing.

http://content.epixhd.com/webassets/static/movies/images/websized/200/Hard_Eight_stills_9197.jpg

[MadMan]

IMDB.com's trivia section confirmed for me that PTA was indeed inspired by Bob le flambeur. And that a different ending was to be shot, although after reading about that ending I much prefer the one that was chosen instead.

[Ezee E]

The best has yet to come.

[Skitch]

I didn't know there was a PTA flick I hadn't heard of. Me fail.

[dreamdead]

Nice review, Madman. Just watched Hard Eight because of this jogged my mind and I aim to go through some of Hoffman's filmography that I've neglected over the years.

This one is interesting in that it feels totally quintessentially '90s in theme and mood. This foregrounds Anderson's interest in the father/son relationship that underscores his whole career (with PDL being the exception), but the script doesn't quite convince me that Johnny is in any way interesting. He's a little too sadsack and puppy dog to Sydney to be of much interest. And while some of that is certainly intentional and secures symbolic meaning, the film suffers and lags whenever it abandons Sydney's perspective, making the crosscutting during the finale a little too limp. The film is interesting when it finally answers why Sydney keeps extending himself for Johnny, and in the awkward love triangle between those two and Clementine (who's unfortunately a little too one-note to be fascinating).

Several of the Anderson tracking shots are fun--while you single out the casino sequence, I found the one-take follows of Sydney entering and exiting the hotel room nice in how they ratchet up tension by withholding easy progression of space. This was also a typical Anderson film where bit parts (Hoffman, the hostage) could be interesting movies in their own right. But Hall owns this film. I wish it had explored more varied thematic terrain, but it's a good entryway into his more challenging material.

I've got Bob le flambeur DVRed and am curious if this will rise or fall in esteem once I view it. Also: Sarah mentioned interest in watching Boogie Nights since she's never seen it. Trying to decide whether to do that or Magnolia as a rewatch for myself...

[MadMan]

Nice review, Madman. Just watched Hard Eight because of this jogged my mind and I aim to go through some of Hoffman's filmography that I've neglected over the years.Thanks!


This one is interesting in that it feels totally quintessentially '90s in theme and mood. This foregrounds Anderson's interest in the father/son relationship that underscores his whole career (with PDL being the exception), but the script doesn't quite convince me that Johnny is in any way interesting. He's a little too sadsack and puppy dog to Sydney to be of much interest. And while some of that is certainly intentional and secures symbolic meaning, the film suffers and lags whenever it abandons Sydney's perspective, making the crosscutting during the finale a little too limp. The film is interesting when it finally answers why Sydney keeps extending himself for Johnny, and in the awkward love triangle between those two and Clementine (who's unfortunately a little too one-note to be fascinating).The major reason I liked Johnny and Sydney's relationship is that its as much a partnership as it is Sydney acting as Johnny's father. The father figure mentality is something Sydney sticks with because maybe in the end its what he knows and does best. Its funny how in the conversation between Sydney and Clementine that only then does Sydney mention he is divorced and has kids-at least I remember him saying he has kids. Clementine works better as a character when she's interacting with Sydney, so I do agree that the she is a bit thin as a character. I did like the cross cutting, but that storyline felt weak compared to Sydney being forced to deal with Samuel L. Jackson's character, who I should have mentioned in my review. Hard Eight reminded why I love Jackson as an actor-when he stops playing himself and just "disappears" into a role, something that he really doesn't do anymore. Which is a shame.


Several of the Anderson tracking shots are fun--while you single out the casino sequence, I found the one-take follows of Sydney entering and exiting the hotel room nice in how they ratchet up tension by withholding easy progression of space. This was also a typical Anderson film where bit parts (Hoffman, the hostage) could be interesting movies in their own right. But Hall owns this film. I wish it had explored more varied thematic terrain, but it's a good entryway into his more challenging material.Yeah I have a good feeling that PTA dives into way more complex material in his other films. And yes I did enjoy the other shots, which were really impressive too. There are not too many film debuts where you see a director being that comfortable and in command of the camera and what they want to do onscreen.


I've got Bob le flambeur DVRed and am curious if this will rise or fall in esteem once I view it. Also: Sarah mentioned interest in watching Boogie Nights since she's never seen it. Trying to decide whether to do that or Magnolia as a rewatch for myself...Despite giving Bob le flambeur and Hard Eight the same rating (95/100) I slightly prefer Bob le flambeur, which is a classic Melville film and a new favorite of mine. I viewed it last year and loved it. I can't wait to get to Boogie Nights and Magnolia.

[MadMan]

Well its time to bump this thread, and who better to focus on then a new favorite director of mine, Ben Wheatley? I've viewed all of his major theatrical releases over the span of two years, and my avatar is from his latest, A Field In England. First up is the beginning, the movie that started it all...

Down Terrace (2009)

http://media-cache-ec0.pinimg.com/736x/dc/ef/be/dcefbece1be0d0c76cfcb45a0d53f9 bf.jpg

Although a bit rocky at times, I had to remember that this was Wheatley's debut film, and thus was prone to errors and sat at the mercy of a first time director trying to find his way. The humor in this film is probably the strongest out of all of Wheatley's movies, yet it carries that dark element that has presented itself in each of his films. Bleak humor is very English, and that is who populates all of his films: people from the United Kingdom, some who appear in most of his movies or at least more than once. You have Robert Hill and Robin Hill as father and son criminals trying to run an enterprise while attempting to figure out who might be the rat that caused the dad to be jailed. From this point on, things spiral rather quickly out of control and a large amount of violence ensues.

It is this element of violence which populates every single one of Wheatley's movies-in fact you could say he is obsessed with horrible things happening to people. The murders in this film are darkly humorous, and I actually found many parts of the movie to be surprisingly funny. However this film does not have much in common with say, the work of Guy Ritchie, or even Quentin Tarentino, because Wheatley shoots this movie as if it is a documentary. Such camerawork perhaps speaks to the film being lower budget, yet I think its also Wheatley wanting us, the viewer, to get in closer and properly examine all of the characters. Their motivations-love, fear, paranoia, hate, distrust, all mixed together in an engaging and interesting storyline that has a rather brutal finale. I dug the final scene, and while this film isn't as deep or as great as his other films it is still a well crafted start to a career that has been rather notable.

Thoughts on the ending, spoiled of course:

Having Karl and Valda murder Karl's parents is a neat twist, one that is a tad disturbing although also quite funny in an awful way. These killings are not just in response to the fact that Karl's parents disapproved of him marrying Valda, but they are also a freeing, vengeful act. Bill turned out to be the informer, and his actions resulted in many people dying as a result. The idea of karma driven justice pops up again in all of Wheatley's movies.

[MadMan]

Heat (1995, Michael Mann)

http://thisorthatedition.com/wp-content/uploads/2016/06/heat-still-750x410.jpg

Using Moby for an intense crime saga set in Los Angeles would feel out of place for most directors. Then again, Michael Mann is in a class all by himself, and his timeless epic Heat (1995) showcases Mann at the height of his filmaking talents. It helps that he also assembles one of the best casts ever, headlined by Robert De Niro and Al Pacino, finally sharing the big screen together. Each two sides of the same coin, each reflecting not only man's nature but the symbotic relationship between cop and criminal. The slow paced, well rounded dinner scene properly reveals how each man thinks.

Vincent Hanna: What are you, a monk?

Neil McCauley: I have a woman.

Vincent Hanna: What do you tell her?

Neil McCauley: I tell her I'm a salesman.

Vincent Hanna: So then, if you spot me coming around that corner... you just gonna walk out on this woman? Not say good bye?

Neil McCauley: That's the discipline.

Vincent Hanna: That's pretty vacant, you know.

Neil McCauley: Yeah, it is what it is. It's that or we both better go do something else, pal.

Vincent Hanna: I don't know how to do anything else.

Neil McCauley: Neither do I.

Vincent Hanna: I don't much want to either.

Neil McCauley: Neither do I.

http://s18675.pcdn.co/wp-content/uploads/2018/02/heat.jpg

Naturally, both men and the others in their life still have attachments, anyways. What I find remarkable about Heat is how Mann spends almost three hours making the viewer care about what happens to the criminals as well as the cops. Sure other films have done that before and after, yet Heat really digs into actual lives, something that Jean-Pierre Melville and John Woo have done with their own crime films as well. That loose code of honor among thieves is even present, which further explains how events spiral out of control later on.

Oh and that LA downtown shootout is amazing. Lots of bullets flying, tons of violence, and Val Kilmer mowing down cops in broad daylight. Having the film's centerpiece appear so visible is another aspect of Heat that I admire. Sure the film comes off too cold at times, yet its the quieter film scenes that let the viewer in. Especially when De Niro's Neil falls in love, set to that alluring nightime LA backdrop that would be at home in a panting. For me though the film's suspenseful hide and seek finale is my favorite part, if only because it reflects that dinner scene all too well.

"I told you I was never going back." Boy 1995 was one hell of a year. Heat is an example of the best that year had to offer in film. Too bad Mann will never top it, although maybe that's okay. Some art is hard to even replicate, nevermind besting something a man worked decades to unleash.

[StuSmallz]

Whoa, sweet thread necromancy, MM, and nice write-up on Heat; I mean, I've only seen it once about 16 years ago, but I remember it being quite good, so I might need to rewatch it fairly soon-ish. Which Mann film do you think you'll review next, and will you post a version of this thread on the Corrie as well?

[MadMan]

Whoa, sweet thread necromancy, MM, and nice write-up on Heat; I mean, I've only seen it once about 16 years ago, but I remember it being quite good, so I might need to rewatch it fairly soon-ish. Which Mann film do you think you'll review next, and will you post a version of this thread on the Corrie as well?

I already want to see it again. I quit matchcut for a while and only came back when RT died.

I should review Thief. I have a Manhunter review on my blog already. I already have two movie review threads on the Corrie so I might just throw these write ups into the latest one I have.

[Dukefrukem]

Heat is Mann's only good movie.

[Grouchy]

Nah, The Insider begs to differ.

[MadMan]

Manhunter, Thief all say Duke is wrong. I need to see The Insider. Also I will defend Last of the Mohicans endlessly.

[StuSmallz]

I already want to see it again. I quit matchcut for a while and only came back when RT died.

I should review Thief. I have a Manhunter review on my blog already. I already have two movie review threads on the Corrie so I might just throw these write ups into the latest one I have.
Manhunter, Thief all say Duke is wrong. I need to see The Insider. Also I will defend Last of the Mohicans endlessly.Never was really a fan of Mohicans (it just feels so... hollow and Hollywood), but, while I still need to see Manhunter & ​The Insider, Thief is really good, and I'd throw Collateral ​in the mix as well as far as the good Manns go. Anyway, if you do end up posting this material on the Corrie as well, I'll support it there to, and I'm sure a certain evil ​Mann fann would enjoy seeing it there as well...

; )

[Dukefrukem]

Collateral is passable because of Cruise and Foxx. But really, when was the last time you (MC) saw any of these movies? Or sat down and said, I'm going to watch Collateral today.

[Grouchy]

I get you, Public Enemies and Miami Vice were bad and nothing about Blackhat looks very appealing.

But it's not true that he only has one good movie. The aughts did not find him in proper form.

[MadMan]

I loved Public Enemies. And I have seen (and own it) Collateral at least 4 times. Its one of his best films.

[MadMan]

Never was really a fan of Mohicans (it just feels so... hollow and Hollywood), but, while I still need to see Manhunter & ​The Insider, Thief is really good, and I'd throw Collateral ​in the mix as well as far as the good Manns go. Anyway, if you do end up posting this material on the Corrie as well, I'll support it there to, and I'm sure a certain evil ​Mann fann would enjoy seeing it there as well...

; )

Keep in mind I have seen Mohicans numerous times on VHS. It was the first Mann I ever watched. And yeah considering he and I got into it over my lazy approach to review and essay writing, I should post it over there at some point.

[StuSmallz]

Collateral is passable because of Cruise and Foxx. But really, when was the last time you (MC) saw any of these movies? Or sat down and said, I'm going to watch Collateral today.I think about rewatching Collateral plenty, yo; it was a taut, claustrophobic, stylish urban crime thriller, with a trail-blazing digital visual aesthetic, and an antagonist with a unique, intriguingly nihilistic worldview, which facilitates a rare performance from Cruise where he actually disappears into a particular role, instead of just doing another variation of Tom Cruise: International Superstar. It may not be as ambitious in scope as something like Heat, but any further complications to the film would likely render it a much less tight experience, which is one of its strongpoints in the first place, and one of the main reasons why I've always liked it.

Keep in mind I have seen Mohicans numerous times on VHS. It was the first Mann I ever watched. And yeah considering he and I got into it over my lazy approach to review and essay writing, I should post it over there at some point.You can do it, (Mad)man!

[Ezee E]

Collateral is passable because of Cruise and Foxx. But really, when was the last time you (MC) saw any of these movies? Or sat down and said, I'm going to watch Collateral today.

I'd totally watch Collateral if I was channel surfing.

[transmogrifier]

The Last of the Mohicans is one of the Top 10 films ever made, so Mann’s doing okay in my books.

[transmogrifier]

Heat is Mann's only good movie.

And I get it in the neck for not liking Marvel enough!

1. The Last of the Mohicans
2. Heat
3. The Insider

All brilliant.

4. Collateral
5. Manhunter
6. Ali
7. Miami Vice

All solid. I’d take all of those 7 over every Nolan
film except Memento, which would slot in at 3.

Public Enemies is average. Blackhat I don’t like. Thief has been too long. The Keep I haven’t seen.

[Dukefrukem]

And I get it in the neck for not liking Marvel enough!

1. The Last of the Mohicans
2. Heat
3. The Insider

All brilliant.

4. Collateral
5. Manhunter
6. Ali
7. Miami Vice

All solid. I’d take all of those 7 over every Nolan
film except Memento, which would slot in at 3.

Public Enemies is average. Blackhat I don’t like. Thief has been too long. The Keep I haven’t seen.

I've only not seen Manhunter and Ali and it's been a very long time since I've seen TLofM. But damn, those movies nothing special. And ugly ugly films with the exception of Collateral. Blackhat was the worst movie of whatever year it came out. As was Public Enemies. That tips over Mann's filmography for me as he got lucky with Heat. Spielberg and Nolan never made the worst film of the year.

[transmogrifier]

1941 would like a word.

[Dukefrukem]

Tu-fuckin-che

[Grouchy]

And Interstellar, too.

[Dukefrukem]

And Interstellar, too.

Don't be silly.... Was not the worst movie in a year where you were given films such as 300: Rise of an Empire, Transformers: Age of Extinction, The Legend of Hercules, The Monuments Men, Pompeii, Blended, Into the Storm among others...

[transmogrifier]

Don't be silly.... Was not the worst movie in a year where you were given films such as 300: Rise of an Empire, Transformers: Age of Extinction, The Legend of Hercules, The Monuments Men, Pompeii, Blended, Into the Storm among others...

Movies released the same year as Blackhat: Mortdecai, The Human Centipede III, The Cobbler, The Gallows, Fantastic 4, Tracers, Get Hard, Paul Blart: Mall Cop 2, Jem and the Holograms...

Movies released the same year as Public Enemies: Transylmania, Old Dogs, Miss March, The Unborn, Bride Wars, Did You Hear About the Morgans?, THe Ugly Truth, Dragonball: Evolution, Obsessed, Alvin and the Chipmunks 2, I Hope They Serve Beer in Hell, Madea Goes to Jail, I Love You Beth Cooper

I mean, play fair.

[MadMan]

I think about rewatching Collateral plenty, yo; it was a taut, claustrophobic, stylish urban crime thriller, with a trail-blazing digital visual aesthetic, and an antagonist with a unique, intriguingly nihilistic worldview, which facilitates a rare performance from Cruise where he actually disappears into a particular role, instead of just doing another variation of Tom Cruise: International Superstar. It may not be as ambitious in scope as something like Heat, but any further complications to the film would likely render it a much less tight experience, which is one of its strongpoints in the first place, and one of the main reasons why I've always liked it.
You can do it, (Mad)man!I will. Eventually.

1941 is really bad. Interstellar is excellent. More on this, later.

[MadMan]

I also liked and saw Transformers: Age of Extinction on the big screen.

[MadMan]

Miami Vice (2006, Michael Mann)


https://youtu.be/6WCKJ7KaIZY

So keep in mind I have only seen a few episodes of the original TV series, and that I am a 90s kid which means I lack the awe that an 80s kid would have for Miami Vice. But Netflix had the 2006 film and I love Michael Mann's work, so I decided to spend two nights after work catching up on a movie that a lot of people who's opinion's I respect have recommended. Despite being messy at times I really liked, maybe even loved, Miami Vice. The style is layed on heavy in this cops and criminals thriller, and it is thick even for a Mann film. This film is a tasty hamburger where the plot is the ketchup and only exists for flavor.

Mann goes pure 1980s where the heroes wear shades and have intense gazes off into the sunset or the night sky as they head off to take down obvious villains. Gong Li and Colin Farrell's very tender and close relationship offers a nice batch of gray in this very black and white scenario, although the cops in this film are not above bending the rules. Jamie Foxx seems to be in this movie to offer a contrast to Farrell, particularly as the cop with a more stable life. The drug dealers that Crockett and Tubbs are investigating seem to be mostly background detail, although that is fine in this case. The film does not have enough run time or room to cover them anyways.

As usual, there are well shot action scenes-Mann does not get enough credit for doing those incredibly well-and plenty of gun play. There is a big shoot out later on that is very entertaining, yet I prefer the trailer park scenes because they are slow and intense. Also Farrell and Foxx are both exceptional actors, and Mann uses both of them to full effect here. Too bad this movie kind of bombed at the box office-perhaps Miami Vice only works best as a TV series.

[Skitch]

Catching up on this thread...

I still look forward to Mann's work even though he can be hit and miss for me. I feel like when he hits, he HITS, and when he misses, ooof, the wind off the bat blows my hair back. I don't quite seem to go with normal people's take on him, so go with a grain. (Also I was an 80s kid and watched Miami Vice every damn chance I could.)

AWESOME
-Collateral
-Heat
-Manhunter
-Miami Vice

Good
-Last of the Mohicans
-Thief

Okay
-Ali
-The Keep

Dull
-Blackhat
-Public Enemies

Bored out of my mind
-The Insider

[MadMan]

Heh I love Thief a lot.

[Skitch]

Heh I love Thief a lot.

I need to rewatch it (I own on dvd) but I've only seen it once.

[MadMan]

I own the Criterion blu/DVD combo but I saw it on Netflix, first.

[MadMan]

I still have to see The Insider, The Keep, Ali and Blackhat.

[MadMan]

For my 20k post, I give you all...a review! Also taking a break for a while. Not sure when and if I'm coming back. Cheers!

Johnny Guitar (1954, Nicholas Ray)


https://youtu.be/ACgSyxdV9vE

Every so often I finally get around to viewing a Nicholas Ray film and so far I have been well rewarded every time. Some are better than others, and in this case his 1954 cult western classic Johnny Guitar might be his best, or at least one of them. What aids this picture is that Ray takes cliches and works around them while also embracing many of them at the same time. He even manages to create some new ones, and works in a romantic subplot that is more of a square than a triangle. Even though one member of it refuses to admit that she hungers for a man she openly loathes.

Naturally Johnny Guitar has those picturesque views of the old west. Yet the costume design and additional use of color rounds out things very nicely. I could look at this movie all day, and whatever transfer Hulu featured looked great. Guitar, Vienna, Dancin' Kid and his bunch are all dressed up in bright, vivid colors, while Emma, Vienna's rival, and the townspeople she manipulates are dressed in either dull or black clothes. Even though they are supposed to represent law and order in contrast to Vienna and company, if you looked only at what people were wearing in this movie you would easily peg Emma as the villain. Which incidentally she is in this movie.

https://dkanut5j171nq.cloudfront.net/catalogue-images/ti112611.jpg

In fact the Vienna-Johnny-Dancin'-Emma love affair mess probably contributed the most trouble in this movie than anything else. I got the HUAC Committee parallels however I felt that the theme of suspicion without cause is one that fits in well in any era. Oh and the angry mob descending on Vienna's home later in the film, stirred up by Emma, remains haunting and anger inducing to this day. Guilt assumed before innocence and by association is an all too common aspect of history that people tend to sweep under the rug. Best to just assert they "Deserved it" instead.

Having made film noirs before and after Ray could not help including those aspects in his western. It is really a marvel that this movie exists. There is no gun fight duel in the street, no stirring speeches or wrongs particularly righted. Yes some justice happens despite the circumstances, yet it comes too late to be truly satisfying. Unlike some of the films from it's era and genre Johnny Guitar stands apart, confusing some of it's intended audience while inspiring some like myself. Too bad Ray was so far ahead of his time, a decade or so early to a brand of western that is mostly what the genre is today.

[DFA1979]

Reposted from my blog:

Brokeback Mountain (2005, Ang Lee)


https://youtu.be/U5D1iU5KnqQ

"I wish I could quit you." Sure make all the jokes about that line yet in the context of Brokeback Mountain it cuts quickly and to the core. Jack yells it at Ennis, then instantly regrets ever saying such a thing in the next minute as Ennis breaks down. This occurs at the movie's heart and almost towards the later part of the film, a scene that is brutal and heartbreaking. I regret ever joining the other idiots in 2005 who made jokes off that line. I plead ignorance however that's little to no excuse.

Ang Lee by 2005 was an established director, and even after gifting us with Crouching Tiger, Hidden Dragon he had more wonderful surprises up his sleeve. One of them was Brokeback Mountain, a film that reminds me of Delmer Daves' westerns, those startling picturesque melodramas created in an era long gone by. Also I thought of films such as Black Narcissus, where the characters are unable to properly fulfill their own longings. Even though Jack and Ennis have a decades long relationship neither man due to society and their own separate lives cannot find happiness with each other.

That and each man goes along with societal expectations, well at least Jack does. Ennis fails to hide who he is from his wife, although the film never quite says if his kids picked up on him being in love with a man or not. Ennis has a temper that is on display multiple times, particularly during an awe inspiring fireworks scene that literally reflects the fireworks going on his own life.

https://filmdaze.net/wp-content/uploads/2018/08/title-png.png

Despite being focused on the two male leads the movie still has time for others, also concentrating on the women in the men's lives. Alma grows to resent Ennis for not being around enough and uncovers his secret all too easily. Meanwhile Lureen either seems all to willing to ignore who Jack is or she focused too much on her business. Either way she seems the clichéd dutiful wife focused primarily on her business. I thought it was interesting how the movie only really showcases Ennis' one daughter of the two, Alma Jr., although perhaps that's due to only having so much time I suppose.

Jack on the other hand mostly keeps himself almost under wraps, only truly showing blatant emotion several times. The two men seem to be apart even when they're together, and yet in a different time and place maybe things could have worked out. Perhaps that may have been the case, yet no one knows for sure. Life has an awfully funny way of working out, typically not in our favor.

Ang Lee has created a modern classic, one that still affects the viewer 16 years later. He adds to both the western and drama genres, and he reminds me of what I discover as a young man: Wyoming is so beautiful words cannot describe it at all. I can relate to Ennis' struggle to find a meaningful relationship and connection with someone, and clearly the only person he ever landed with happened to be Jack. That's something anyone straight, gay or otherwise can relate to easily.