From the perspective of the script, the biggest adaptation of the film has three points. One is the change in the perspective of the narrative. From the original point of view of Ennis, it has become the intersection of the lives of Ennis and Jack. The second is the change of narrative caused by the change of viewpoint. The original book is a collection of the two people's 20 years together, and the two people's respective lives, especially Jack's life, are falsely written, while the film is composed of false ones In fact, the two people's respective lives were rambled about, so the filming broke up, the moving emotions were not concentrated, and the whole rhythm slowed down. The third is an adaptation that loses the soul of the original work, but Ang Lee may be thinking about it. That is, the source of the desolate and powerful energy that formed Brokeback Mountain is gone. That source is a kind of pressure formed by the society of a certain era. It is because of this pressure that the struggle and cowardice of the two souls will have tension, but The film falsifies this pressure, and even attributes the inability of two people to be together as a personal ethical choice. Ennis's childhood father's death flashback made him cherish family and family, and the characters took the initiative. He chose to give up and replaced the shadow of the original book when he saw a homosexual being beaten to death by a stick. This is really Ang Lee's wishful thinking.
From the lens language point of view, Ang Lee's shooting method appears rough and careless in many places. For example, in the scene where Ennis fucks his wife, the two people sticking together in one shot are really boring. Ennis's rudeness is gone. He turned his wife over and did it from the back, which was a very telling thing. , the wife should also have a disgust response to emphasize at this time, but it is omitted in the film. In addition, the flashback of their embrace in Brokeback Mountain before Jack's death was shot as a day scene, and there was no contrast with the previous scene. If it really had to be shot in an evening tone, and the scene was bolder, Using the big picture or emphasizing the details, the power that is very literary in itself can also be shot with pictures, but the film chose a medium-sized panoramic view, and where are the details of the pocket watch, where are the details of the fire, and how to use it As soon as the camera is shot, it becomes more literary. This kind of restraint is not very fun, it is better to let out the emotions.
Of course, Ang Lee is a good director after all, and the camera language is very skilled. I really like the beginning and the way the two meet, wait, and Joe explains the task. Not a single wasted shot, very concise, Ennis stood in front of the door, taking the train coming in, the editing points were accurate, and it was enjoyable to watch. Jack came, a panoramic shot of Ennis, and Ennis who was looked down shyly, in turn, received a close-up shot of Jack, an accurate look of Jack, and the good actor Harlan Weir was established in this way. In addition, Jack's car rearview mirror is used twice for Ennis's viewing, once for the first time, peeping while shaving, and once for separation. Ennis becomes smaller and smaller during the movement. It is a very impressive shot, but Slightly sculpted. In the original book, one of the most visual places is this scene: "During the day, when Ennis looked over the valley, he could sometimes see Jack: a small point moving on the plateau, like an insect crawling over a tablecloth. ; And at night, Jack looked over from his pitch-black tent, Ennis was like a cluster of night fires, a star blooming sparks deep in the mountains", Ang Lee noticed it sensitively, and visualized it. , his shooting method is basically the same as my previous design. He only shot the distant view of Ennis. Probably due to technical limitations, he shot it as a distant view of cooking smoke in the evening. It was shot with density or with a color filter. The effect of the one-star firelight is powerful. Also, there is the detail of the soul of Brokeback Mountain, the two shirts that are put together. I think Ang Lee is still in place in handling this detail, not only the scene where Ennis found the shirt, but also the last scene of the film. The shot is the most desirable, the two shirts in the wardrobe, obviously the order of the inner jacket has been changed, and there is a postcard of Brokeback Mountain hanging next to it, so the movement is closed and a good period is drawn.
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