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NF-Lee's Gildor and Frodo

BBM Screencaps ~ The Kiss Scenes, Pt. VII (Final), The 'Dozy Embrace'....

Posted on 2006.05.03 at 17:31
Tags: ,
Brokeback Mountain Screencaps" ~ The Kiss Scenes, Pt. VII (last), The 'Dozy Embrace'....

This post will be the last in the series of Brokeback Mountain screencaps....


In the film, Jack and Ennis have just had what will be their final argument. Ennis breaks down in abject, anguished misery ("It's because of you, Jack, that I'm like this -- nothing, nobody...").

Jack, whom I am convinced has been working himself up in this scene to tell Ennis he's had enough and is going to try and make a real start with the ranch foreman, relents. He comes to Jack to comfort him. Ennis, as usual, tries to push Jack violently away. Jack, in his signature style, hangs on. Ennis falls to his knees, Jack holds onto him.

Ennis' agonized collapse always reminded me of a wounded animal going down, after it has been shot. (Yes, I sobbed every time I watched this scene.) But he recovers, they say goodbye, and he drives away.

As Jack watches him go, the memory of the "dozy embrace" from their first summer comes to him. In that memory, it was Ennis who came up behind Jack and embraced him, initiating a relaxed, deep hug, as if he were Jack's solid, comfortable support. How things had changed.


Here is a re-posting of Jack’s memory of the “dozy embrace” from the short story:


What Jack remembered and craved in a way he could neither help nor
understand was the time that distant summer on Brokeback when Ennis had come
up behind him and pulled him close, the silent embrace satisfying some
shared and sexless hunger.

They had stood that way for a long time in front of the fire, its
burning tossing ruddy chunks of light, the shadow of their bodies a single
column against the rock. The minutes ticked by from the round watch in
Ennis's pocket, from the sticks in the fire settling into coals. Stars bit
through the wavy heat layers above the fire. Ennis's breath came slow and
quiet, he hummed, rocked a little in the sparklight, and Jack leaned against
the steady heartbeat, the vibrations of the humming like faint electricity
and, standing, he fell into sleep that was not sleep but something else
drowsy and tranced until Ennis, dredging up a rusty but still usable phrase
from the childhood time before his mother died, said, "Time to hit the hay,
cowboy. I got a go. Come on, you're sleepin on your feet like a horse,"
and gave Jack a shake, a push, and went off in the darkness. Jack heard his
spurs tremble as he mounted, the words "See you tomorrow," and the horse's
shuddering snort, grind of hoof on stone.

Later, that dozy embrace solidified in his memory as the single
moment of artless, charmed happiness in their separate and difficult lives.
Nothing marred it, even the knowledge that Ennis would not then embrace him
face to face because he did not want to see or feel that it was Jack he
held. And maybe, he thought, they'd never got much farther than that. Let
be, let be.



For reference, here is the actual colour and exposure for this scene on DVD, shown in this unretouched cap:










~ Screencaps from the drowsy embrace, before the fire up on Brokeback:


























































































~ Mechtild



Brokeback Mountain Links Page HERE


Comments:


(Deleted comment)
Mechtild
mechtild at 2006-05-04 01:17 (UTC) (Link)
That's such a beautiful, kindly thought, Mews, but no surprise coming from you. Embattled lovers everywhere would be fortunate to have you as their champion and confidante. I mean that. Your heart really goes out for persons under duress.

I could say it's the natural result of your own life sorrows and losses, but I've met other people for whom loss and sorrow only makes them harder and meaner. Understanding and good will just seems to illuminate your posts. I am so glad to have met you through the fandom.
(Deleted comment)
Mechtild
mechtild at 2006-05-04 02:10 (UTC) (Link)
No trouble, only a pleasure. :)
Map-Maker, Lighthouse-Keeper
marinshellstone at 2006-05-03 23:49 (UTC) (Link)
of course I have to comment on this post before the others, using this icon!

That last dreamy image of Jack...when I saw that in the trailer, combined with the temp score, I got tears. I was literally so excited to see this movie that I was bouncing up and down, due to a bunch of factors, but mostly that moment. It spoke to me soooo much.

I love what you're doing with these screencaps, and can't wait to more fully digest and comment on the other entries!
Mechtild
mechtild at 2006-05-04 01:22 (UTC) (Link)
Oh, Hadara, I am so glad you got to see them. If you look at the "First Tent Scene" (Pt. II) you'll see a cap a friend sent me she had found on the internet. I wish all of them could have that quality!

Or, perhaps, that cap she found was actually taken during a rehearsal and isn't from the theatrical release. The colour and quality are simply excellent. How that was done from images with almost no light I don't know. (It's down at the bottom, as an addition. Note that there is a link at the bottom of every BBM post to take you to the "Table of Contents" of links, which I thought would make things easier.)

I never saw any previews for this film. I had never heard of it, the short story of Annie Proulx until I saw that another Frodo fan was talking the film up when it was still in post-production.

I love your icon. I have a copy of the large image, all golden and dreamy.
Ann
just_ann_now at 2006-05-04 01:32 (UTC) (Link)
Would I sound really shallow if I said that all can see here is Jake's beautiful mouth? *vbg*
Mechtild
mechtild at 2006-05-04 02:05 (UTC) (Link)
[Ah HA! This time I saved it before posting!!!]

[o.k. one more time...]

Just tell it like it is, sister.

You see Jake's mouth, I see Ennis' hands, and hear his voice, drawling, rumbling softly in my ear, "Lil'
darlin'." *sigh*

He can call me quaint western diminutives all day long (especially since I ain't 'lil').
ellinestel
ellinestel at 2006-05-04 07:34 (UTC) (Link)
(((((((((Mechtild))))))) Thank you for a great collection and deep thoghts! :k I couldn't reply before, but I'm very grateful that you've done such a huge job!

((((Hugs))))

P.S. Ennis on the stairs... oh, my, oh, my! :)
Mechtild
mechtild at 2006-05-04 12:36 (UTC) (Link)
Ellin! I am so please you were able to drop in. I know you enjoy the film, once you finally got to see it. *smooch*
ellinestel
ellinestel at 2006-05-04 15:57 (UTC) (Link)
Err... I suspect there was a misunderstanding... ;) I've seen it twice already. :) And loved it.
Mechtild
mechtild at 2006-05-04 16:44 (UTC) (Link)
No misunderstanding, Ellin. My typo left my meaning vague. I typed,

I know you enjoy the film, once you finally got to see it.

I meant, " know you enjoyed the film, once you finally got to see it."

Oops!
Maeglian
maeglian at 2006-05-04 08:25 (UTC) (Link)
You know, this is one instance where I think the short story is even more effective than the film, specifically in the description of the embrace. That is such incredibly powerful descriptive writing, - it takes you into that "drowsy and tranced" state with them. Though the film scene is absolutely beautiful too, and your caps are gorgeous.

What's made a big impact on me with the scene is the simple but very effective way Ang Lee contrasts the emotions of young and "old" Jack at the end of that scene. Young Jack looks after the leaving Ennis with so much love and adoration in his still-somewhat-tranced-an-dazed eyes, while the older version shows all the resignation and sadness and even the tinge of bitterness of those 20 years' worth of crushed hopes and dreams.
(I know some reviewers made fun of the make-up towards the end of the film, but I think they did a *great* job in ageing everybody, Jake included, and certainly in that last shot of him in the film, not counting Ennis's "gay-bashing vision").

Also, in looking at your last cap I am reminded why the DC Board's Jake swoon-thread is named "Jake's eyelashes". Who *looks* like that?

And a comment as to the darkness of the scenes - have you seen the very interesting and in-depth Lee/Ledger interview on Charlie Rose? In it, amid lots of other things, Ang Lee also talks about filming the first night scene and among other information he mentions that after all, in choosing the right take to use, he was able to judge them in normal light because that's how they were filmed - and then darkened for the film afterwards. A bit ironic, with all your trouble in trying to lighten them back up again.....
Mechtild
mechtild at 2006-05-04 19:27 (UTC) (Link)
What's made a big impact on me with the scene is the simple but very effective way Ang Lee contrasts the emotions of young and "old" Jack at the end of that scene. Young Jack looks after the leaving Ennis with so much love and adoration in his still-somewhat-tranced-an-dazed eyes, while the older version shows all the resignation and sadness and even the tinge of bitterness of those 20 years' worth of crushed hopes and dreams.

Well put, Maeglian, really. But do you know it took me more than one viewing to even get it that that was a flash back!

I remember tearily looking at the screen as older Jack looked into the distance, their fight concluded, or put on hold. Then came the shot of Jack standing alone, head down, in front of the camp fire, Ennis walking up to him. Then the embrace. I completely did not notice they had on different clothes, that they looked younger, that Jack had no moustache: that is, they were dressed and looked as they during the first summer! When the flashback ended, and Jack's young face turned into his older face as he watched Ennis'leave, in a truck, in the present, I literally remember thinking, "Well, that wasn't very good editing, in terms of continuity. I can tell they shot the last sequence in different lighting."

Isn't that hysterical? I didn't get it, that it was supposed to be an inserted sequence and not part of the same pre-parting scene. *facepalm* I guess I was so deeply lost to the preceding scene, I just assumed the "dozy embrace" proceeded right out of it, as a reconciliation scene. With that expectation, Ennis initiatiing the hugging and Jack not turning around to him, but continuing to stand as if in his own world meant something really different to me than intended.

What a mis-viewing! *two facepalms*

Ah! You read that they darkened the first tent scene in post-production? Well, from the caps, unfortunately, what seems to happen to make them be dark is to take pigment from the original image and let it bleed away or get replaced with black. I can't, so far, find a way to "turn the lights" on in them in a way that brings back the original images. But, obviously someone has found a way, unless images such as the one you found were actually taken from prints or "behind the scenes" footage from the scene before it had been digitally graded. For instance, in the exceedingly dark "escape to Buckleberry Ferry" caps I did for FotR, I was working with almost indecipherably dark caps, but not as bad as the BBM ones. I could clearly see, even if it was so dark, the image of Frodo from cap to cap before I lightened them. And when I lightened them, although they were still very blue and dark, the resulting images had very good resolution. They just looked as though the scene was lighter originally.

But making caps from the first tent scene in BBM, for most of it I couldn't even see outlines or shapes, just darkness. I went by the soundtrack as to what had to be going on, and just kept clicking, hoping that when I lightened them later at least some of them would be in focus.

There must be some crucial place, technically, after which an image is darkened past the place of reclamation for future screencap doctors who come along.
Maeglian
maeglian at 2006-05-04 21:35 (UTC) (Link)
I've read other people saying they've also made your "mis-viewing"; not noticing that the story skips to a flashback from their summer on the mountain. It simply has to do with being so immersed in the story and in the emotions of the characters that a little thing like what they're wearing doesn't register. :-)
Mechtild
mechtild at 2006-05-04 22:52 (UTC) (Link)
Have you heard that? I like to think you are right.

I do think you are right. I really was just too engrossed in the emotional exchanges to notice stuff like costumes - or even whether Jake had a moustache or not!
Maeglian
maeglian at 2006-05-05 07:18 (UTC) (Link)
Yes, I have heard that, from posters on Wranglers and DC. I've also seen one person at a message board going on about the sloppy editing - obviously not catching on that there were two different scenes involved in there.

Another thing I'd heard repeatedly, was that there is absolute proof that the later inserted gay-bashing scene was just in Ennis's imagination (as he talks on the phone to Lureen) and not meant to show what actually happened, because it's the younger, mustache-less version of Jack who's getting killed. *sniff* That was claimed in early BBM discussions and I never heard it concluded upon with certainty - noone had the film back then and it fortunately goes past so fast in the cinema.
So now, that's been the first thing I used the DVD slow-mo function on; - and the theory's been disproved. Jack has both his mustache and the little paunch in that disturbing scene. It doesn't have a flashback/dream quality at all. So no hint that this isn't what actually happened to him..... I rather think, from various interviews I've seen and read, that the filmmakers are of the opinion that it *is* what happened to him. :(
Mechtild
mechtild at 2006-05-05 12:55 (UTC) (Link)
I think the filmmakers made a lot of decisions about how they would interpret places left ambiguous in the book and that was one of them. When others ask me what I think happened to Jack I usually say that. In the book it's left vague, as if it might just as easily be that Ennis has leapt to conclusions and imagined for Jack the ending he had feared for himself, which would also reinforce that he had been right to worry so, never acquiescing to coming out to be with Jack. But the filmmakers handled that scene as if it actually happened and that Ennis truly is leaping to the right conclusion.

Thanks for checking the scene on DVD. Now I don't have to!
bagma
bagma at 2006-05-04 19:38 (UTC) (Link)
Thank you for all those beautiful screencaps, and the thoughtful comments that go with the pictures.
Like you I was in tears while watching their last argument: so much pain, and so little good memories counterbalancing the sorrow and the bitterness of their lives... I saw the film only once, so my memories are a bit blurry, but I remember I began crying when Ennis is alone, eating something out, and his ex-girlfriend comes talking to him; I don't know exactly why, but I found Ennis's loneliness, his despair very poignant in that scene. After that I fear I couldn't help crying until the end. I loved the film, of course, but watching it was emotionally exhausting for me... I'll buy the DVD, though. But I'm going to watch it when my husband is not at home...:)
Mechtild
mechtild at 2006-05-04 20:04 (UTC) (Link)
Oh, Bagma, you sound like a tender soul for whom such films are made. I watched it twice, sneaking off alone while I was visiting at my mother's who lives near a big city. It was playing there and still hadn't opened in our smaller city.

I loved it the first time: floored, wowed, swept away by the beauty and the quality and the emotional power of it. Then I ended up taking my sister, who showed up a few days later to visit my mother. She wanted someone to go with her (she sobbed through the last section, all the way home for half an hour in the car and then into the night as we sat and talked). When I got back home, it was playing at our theatre. I also had promised to take my daughter, so that made four times. When I heard it was going to be leaving our theatre, which I had not even expected it to ever play, I went one more time.

After that, I bought the soundtrack and played it absolutely to death, whenever I wasn't playing my new "Complete soundtrack recording of FotR," LOL.

I thought that scene in the diner was very poignant, too. That comes right after he sees Jack for what will be the last time. The way he disinterestedly pokes at that piece of pie, obviously unappetizing to him, as if he ought to because he had ordered it and didn't like leaving it (too broke? simply because he had chosen it so now he had to eat it? - I think that would be the reason). As I watched, I thought the way he approached that pie he had ordered but didn't want was the way he approached his listless relationship with Cassie the waitress, and the way he ended up approaching his relationship with his wife.

The whole thing complex sorrow of it, revealed in the way way a character approached a dish of pie. What gorgeous film-making.

When Cassie comes in and upbraids him quietly for having hurt and puzzled her, Ennis' response is so ...that's what made my tears well up. The look on his face was actually kindly, but completely without hope for himself. He looked at her with empathy, but as if to wonder how she or anyone, could expect anything of him, for he no longer expected it of himself. Surely she should be able to see that he was hollow and empty and had nothing to give her, his look seemed to say.

*sniffle*

P.S. I LOVE the image of frodo in your icon.

All that from a barely-eating-a-piece-of-pie scene.
bagma
bagma at 2006-05-05 16:08 (UTC) (Link)
The look on his face was actually kindly, but completely without hope for himself. He looked at her with empathy, but as if to wonder how she or anyone, could expect anything of him, for he no longer expected it of himself. Surely she should be able to see that he was hollow and empty and had nothing to give her, his look seemed to say.

It's exactly that! I don't know why, but I have the feeling Ennis's loneliness is deeper than Jack's; maybe because Jack is more open, and try to establish relations with the others, and Ennis doesn't.

All that from a barely-eating-a-piece-of-pie scene

But eating is important!:) One of the greatest pleasures in the life is to be able to share a meal (in other things, of course!) with the one we love. And Ennis was denied that simple joy.

BTW, I find the Frodo in my icon is pure perfection...:)
Mechtild
mechtild at 2006-05-06 03:58 (UTC) (Link)
It's exactly that! I don't know why, but I have the feeling Ennis's loneliness is deeper than Jack's; maybe because Jack is more open, and try to establish relations with the others, and Ennis doesn't.

I think you are very right. Jack is simply a lot better adjusted person, a far more resiliant person, for all Ennis' image of 'stoic strength'. It's Jack who kept the relationship going, continuing to support Ennis throughout the years. If Jack had only been interested in looking out for his own interests, he ould have left Ennis early on and found someone who would join him in his vision for a shared life. But he stuck with Ennis at the expense of his own long-term happiness.

This sounds like I am down on Ennis, I'm not. He's one of my favourite, more cherishable screen characters ever. I LOVE him. But he really is a very difficult man, demanding a high outlay of psychic and emotional energy. Any lover of his, apart from the sex, is bound to feel he is carrying a heavy load, being in a relationship with him.
casey
casey28 at 2006-05-19 08:53 (UTC) (Link)
Thank you for all of the beautiful screencaps you've made of the various scenes. And this is one of my favorite scenes in the movie. The look in Jack's eyes, in the last cap, gets to me every time.

What I love about the book version, is that they stayed like that for a long time. And the movie version, though so much shorter, still captured the essence of it so well.

Brokeback Mountain is filled with so many lovely iconic moments, and this will always stand out as one of the most special of those for me. :)
Mechtild
mechtild at 2006-05-19 13:22 (UTC) (Link)
Howdy, Casey! It's good to see you. Yes, it's a beautiful scene. They are different from book to film, and are made to serve different purposes, but they both work so well.
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