My heart sank. Not when Brokeback lost the big one — I was prepared for that. It was the audience’s response to Jack Nicholson’s announcement — that exhalation of relief, that thunderous applause — now that’s what chilled me.
Unruly and wry, Nicholson — who, as he told Oprah’s Gayle King, voted for Brokeback — had telegraphed his opinion even as he was announcing the winner. I love how critic Troy Patterson from Slate described it:
“Crash … provided presenter Jack Nicholson with a good opportunity to present Jack Nicholson. He pronounced the syllable with just the right note of surprise, combining incredulity with reassurance and saying warmly, with his eyebrows, ‘That’s Hollywood.’”
Right. Hollywood.
After the ceremony, Brokeback screenwriter Larry McMurtry told reporters that Crash took the top honor because most of the 6,000 members of the Academy live in Los Angeles, where the film was set. “Americans don’t want cowboys to be gay,” McMurtry explained.
Actually Larry, America doesn’t want actors to be gay.
And that’s what propelled that explosive applause for Crash last night: It was the collective shrieking of every closeted person in L.A. screaming out their jitters and relief.
Fuck ‘em!
As soon as George Clooney looked down at his Best Supporting Actor statuette and said, “Alright, so I’m not winning director,” I knew the sort of Oscar evening we were in for: Flat, safe, predictable. Accolades would be spread out evenly, ensuring that the money would be spread out evenly, as well, in the year ahead.
I’ll be the first to admit it, I — and maybe you too — had a lot invested in Brokeback taking the Best Picture award. I didn’t realize it was so important to me but it felt like the investment my younger self had in coming out, in wanting acceptance, in needing validation from the culture I live in.
I called Nightcharm’s editor John Calendo this morning, on the East Coast, and we talked Oscars. And disappointments. As John noted, Brokeback didn’t need the Oscar. The film had generated tons of publicity on its own. Ordinary people were aware of it and the film would reach the people it needed to reach. As a phenomena, it was spectacular, a defining pop moment of 2005.
John and I both loved Ang Lee’s speech. Lee reminded us that the movie’s impact came not from the actors, or the director, or even the short story originator, Annie Proulx herself. It’s power came from the nagging truth of the two characters, Jack and Ennis, who couldn’t live out their love. Forty years ago or yesterday, Jack and Ennis are symbols of a gay situation that has not lost it power to maim.
The more we talked, the better I felt. I realized that after a few years have passed, the movie that will be remembered from 2005 will be the one you and I were rooting for.
Yes, a Best Picture Award — that instant cultural validation — would have been sweet, but, in the end, who won what is forgotten in the rush of time. What will remain is the pristine sadness of those glittering streams and snowfalls on Brokeback Mountain.
Ebert’s Brokeback Did Not Lose Because of the Gay Thing
Stephen King sums it all up here.
I suppose they couldn’t, but the few times I saw interviews with Ledger and Gyllenhall, it seemed to me neither of them was really willing to stand by their characters, attempting in various ways to distance themselves from their powerful performances, especially so in the SGA awards night. Rather different from Ang Lee’s comments, but then he doesn’t have to go on for the rest of his life being some sort of heterosexual heartthrob!
Hey c’mon who needs Hollywood’s validation to recongnize a pure jewell.
This validation would place BBM at the same level as Titanic, The Lord of the Rings and much more crap.
BBM is a masterpiece needs no validation to confort gay America.
Cheers to that thought, DK. “Brokeback” found an audience in theaters that “Torch Song Trilogy” could barely find in its video release. As with all cultural artifacts, it’s a bit this and a bit that, but it surely is–and will remain to be–an impacting resonant film.
didn’t see the awards, read the story, didn’t see the film — immersed myself in the landscape this past summer…..best picture doesn’t matter…..as, “actually Larry, America doesn’t want actors to be gay.” …it’s possible yet there is certainly far too much denial about far too much these days — that creates limitations on far too many productions. having spent my time in urban areas with a large queer population and attending pride events in different cities….then to be working on film productions where the “love that dare not speak its name” is exemplified — i’ve spent the last few years vomiting. seeing so much affection at times then exponential during pride….and then, uh, oh yes, it’s the gay marriage agenda flooding the landscape…..honey, Thank GOD for the cultural landscape separate from your racist and discriminatory tirades as i’m not sure i recall a time when this nation’s culture was so dreadfully boring and skeletal. yet, there were plenty of queer-themed films at the awards — in hollywood, best picture and prom queen are not synonomous.
I agree with you David - whether we actually need it or not there’s a longing for validation that some of us are still hungry for. Somehow I think that a Best Picture nod to Brokeback would have provided that.
What I find reassuring is that Brokeback Mountain has generated more conversation and commentary than any other film I can think of - and for me there’s a lot of validation in that. Something in Proulx’s story and Lee’s film moved people and got them talking. With or without an Oscar for best picture, Brokeback has legs and its reaching people in a way that no other gay-themed film ever has.
It would have been nice to see Brokeback get the best picture Oscar, but the fact that we got this film at all feels like a triumph to me.
I think it was politics and fear. Hollywood is extremely sensitive, and always has been, to the charge from social conservatives that they are morally and/or politically dangerous. Giving the top award to a mediocre flick was par for the course. The consolation, though, is that the Academy Awards regularly screws it up, so gays shouldn’t feel too bad.
Guys,
Come on. It was a queer year. THE BEST ACTOR AWARD
went to a guy who played Truman Capote. So we don’t
like that because Phillip isn’t hot and played fem?
Give me a break. Ang Lee won best director. BBM won
for best music. TransAmerica was nominated. And the
last time I checked racism is still a problem in this
country. In looking at Crash and Brokeback Mountain
they both play to liberal hearts, liberal whites and
liberal straights. And both blacks and gays want the
same thing, to be loved by society. “Hip Hop has
arrived?” Not really. 36 Mafia would still get stopped by the LAPD on their way home if driving in the wrong
neighborhood. People are so full of self hate that we
need to be validated by everyone else. But just like
culture didn’t change racism (blues, rock and roll,
hip hop), it’s not going to end homophobia. The
celluloid closet just played on TV and it talks about
the pathological queer who has to “die in the 3rd reel”
and never be truly happy. What’s different about BBM?
It’s the same thing. He didn’t die of AIDS but he didn’t have to. And we are so comfortable playing the
tragic queen that we rush to embrace this bullcrap.
I hate to say it, but dudes, buck up and get over it.
And just to be clear: the best Queer movie of the year
was Mysterious Skin.
Lion’s Gate, Crash’s studio, sent DVDs to every member of the Academy. and pushed really hard at the end with a huge PR blitz. heck the producer woman on stage even thanked them for the hard work they did. This is similar to Miramax doing massive work for Shakespeare in Love, which i believe was up against Saving Private Ryan at the time, and winning.
racism and homophobia were the big issues this year in the movies - a twofer, IMO, we all benefit when either and/or both are discussed.
Exellent point, Dean. Last year it was all about thanking one’s lawyer during the acceptance speeches. Jezus, now they’re thanking PR departments. As The Guardian reported:
“The studio behind Crash, the surprise best picture winner at Sunday night’s Oscar ceremony, spent a total of $4m promoting the film ahead of the ceremony with a targeted campaign to woo academy members. The film itself only cost $6.5m to make.”
What does that tell us? Money and propoganda, uhm, I mean PR rule. Art, hmmm — that’s just an after thought — a kind of annoying hard work. It took Annie Proulx six months to write BBM — an 11-page short story. And seven years for the screen author’s to bring it into the light of day.
Regardless, I like the notion of what you’ve shared: “…a twofer.” That’s a good way to hold it.
Abraham — good call. Mysterious Skin was fucking brilliant — and not having seen Brokeback at the time, I listed it as one of my favorite films last year. (link)
It’s awesome to see so many folks dropping by and sharing comments — the discourse is what fuels this blog. Thanks to everyone.
Love,
David K.
I was so angry,sad confused I cound’nt sleep…I’m a Broakaholic ,I’ve seen the movie more then twenty times…I miss Ennis and jack…
I agree with you Tom.
I’m gonna talk about BBM wherever I go..I’m gonna keep Jack and Ennis safe in my heart.
Jack and Ennis…I swear..
I am as gay as anybody here and I totally loved BBM, too (let’s not talk about last few emotionally forced, dragging minutes). I almost don’t dare say this here, but guys, reading all this, all the conspiracy theories, does anybody allow even a remote possibility that Crash is a better movie? Being my critical self and trying to be fair and objective about anything and not pretending to be a huge movie expert (a medium size one), I could do a list a pros and cons for both movies. Crash kept the tension and suspense till the last second (rescue from the car on fire; Mx girl that’s not shot). That’s a Crash point there. Then socially, both movies talk about existing phenomena in our society, but Crash blew it a bit out of proportion (I mean, a cop finger fucking a woman in LA? C’mon! Wish that happened to me.). However, BBM is right on target there. The problem there is more tangible; the misery closets bring to all people involved, is more real and that the whole society needs to have more consciousness and work on. There’s a BBM point. You know, guys, it’s Oscars. I know it’s big: the dresses and the red carpet (just kidding), but keep your minds as usually open. It’s been a good year.
P.S. And I love Nightcharm. No, really!
Never mind two-fers. Racism,homophobia: one and the same, the fear of the OTHER. Ebert’s review is clear, CRASH just might be a better movie, a better piece of all-around work (even without the excessive PR).
But there’s no question about “that exhalation of relief” and what it meant.
The Academy had the last word on Brokeback Sunday night, and while the interpretations and pronouncements on their judgement tear through the media on the last legs of the Brokeback buzz, I prefer to ponder what lies ahead. The hype and the box office success of the film will certainly spawn responses in an industry that likes nothing better than to imitate and recreate.
Perhaps part of the success of Brokeback is that audiences, like those red-state women who left their husbands at home to flock to this film, were ready for something more honest than the asexual jesters and clowns that inhabit mainstream television and film. After all, Brokeback is certainly a far cry from the wink-and-swish shtick on Will and Grace.
My hope is that “Hollywood” does not get the message that they should give us another Jack and Ennis, but understands that they can be a little more fearless in making gay characters heroic, sexually challenged, and, yes, flawed. To make us human, after all, is to demand for us more empathy and respect.
So, if we have a message for film makers let it be this: We were touched by the trip to Brokeback, but there are other times, other places, and other stories where we can show you our beautiful truths.
I happened to be in LA at a party with a bunch of film school students (mostly straight) who were all cynically commenting on the awards ceremony and who all seemed to agree that Brokeback was, after all the hype, not “best picture quality”. The whole thing unfolded like a bad dream for me. I’ve had a sinking feeling that Crash might win for the last few weeks since the PR blitz started and the media picked up on it and started to talk about it as a sort of dark horse upset. If you think about it what were those stories in the papers about? Both movies had already been released. It’s not as if Crash was re-edited and improved in some way. It’s not as if word of mouth finally made it a hit. It was strictly the buzz created by the PR firm. When that started happening it seemed like a classic case of hollywood and the media paying lip service to a challenging movie like Brokeback and then ducking for cover at the last minute. Anyway, when Crash was announced I found myself in a room full of straight cynics who have probably never cried at a movie in their life. I hurried outside to the empty street and started crying. In that moment, it was clear to me how much meaning I had attached to the movie and to mainstream America’s acceptance of it. I’ve always had this burning belief that if only straight people could really see what gay love is, then they’d know instinctively that it is profoundly right and true. Here was Brokeback that came so much closer than any mainstream movie I know of and did it in a way that respected and perhaps even flattered the fierce power of society’s repressive prerogative. I felt like Ang Lee presented this gift to mainstream American and all they had to do was accept and “they” simply couldn’t or wouldn’t. It was really crushing. But the worst part was hearing a roomful of intelligent film students suredly proclaim the rightness of the outcome. In the few days since it has been amazing to talk to gay friends and read articles like this wonderful post on Nightcharm to know that I’m not crazy. There’s a reason I saw Brokeback three times and would see it again. I love hearing other gay people’s takes on the movie and on the Oscars. This is what is really making it all worthwhile. Being gay rules.
Hey Guys…awesome commentaries here…We should have given you your own roundtable set up, like we did with our pre-Oscar party group.
I just read an excellent piece by Stephen King, on his reactions to the Brokeback snub. It’s really brilliant. King’s the only reason I still make a point to check out Entertainment Weekly each week — his column in the back is the best: Honest, snarky and riddled with great factoids and recommendations.
Here’s the link.
David K.
#16, I would like to remind you of the slogan for the greatest cheesy horror flick of all time, “Last House on the Left.”
It’s Only A Movie
It’s Only A Movie
It’s Only A Movie …
crash won…..and covering past internment camps in california and the deplorable conditions in downtown los angeles let alone other societal ills in los angeles — current “consensus” would seem that the urban plight doesn’t much matter. kudos to them for overcoming what some consider to be a majorly humorous social predicament. i don’t find those conditions nor certain current conservative oversight or tip-toeing let alone supposed ignorance to be very amusing at all. featured scenes that i’ve seen from the BBM are beautiful….i’ve read the story and obviously it’s quite sad. then again, i’m someone who’s become rather disgusted with film for the most part — based on this trite display of anything productive, constructive, uplifting, socially relevant, multi-disciplinary, comedic, or homo-positive………LORD help us, if Celluloid Closet cliches linger around this nonsensical hoopla amounting to a tip of the hat.
I just saw mysterious Skin! OMG it is good. The music was haunting. I think I liked it better than BBM. It wasnt really sad like BBM but rather strange and vulnerable for lack of a better word. I give Myst Skin a 10/10. While I still find it hard to grade BBM for soem reason. I dont seem to want to give it a personal 10, it seems there is somthing lacking. I dont know, but if not a 10 then a 9 for sure.
I am as devastated as you when I heard Jack Nicholson said Crash. It was unexpected. I have been jumping high when Ang Lee took the oscar cause I think Brokeback Mountain would take the Best Picture. I still sad about it. But after read your post, I feel a little better. I do hope I can find any explanation why they didn’t bring it home. Alas Brokeback Mountain will always remember as a great movie after all.
Children, children, puh-leeze!! The Oscar is not an imprimatur of moral correctness, or for the best message of the year, or for being likeable. The Oscar is an award bestowed by a professional society on their own for being best at their craft. The Oscar is for the project that most exemplified excellence in motion- picture-making. While I personally might have voted for BBM if I was a member of the Academy for sentimental reasons, an unbiased appraisal of Crash as an example of the craft of moviemaking can only lead me to agree, wearing my art-appraising hat, that the decision of the academy voters was the correct one.
IF Brokeback had been tightened up (tell the truth now, were you looking at your watch?), IF the director or the flawed straight-play-gay casting process or Heath/Jake had managed to project some really believeable heat, IF the screenwriters, superb job that they did, had made just a little more of a movie rather than a scrupulously faithful rendition of a story from another medium, and several other IFS, that, in my mind, at least, would have made a very, very good movie a transcendent experience, maybe even the best M-O-V-I-N-G P-I-C-T-U-R-E of the year. Crash’s success in melding its parable script (something many of its detractors don’t get), acting, editing, direction and cinematography, and it’s ability to sustain interest from opening to closing frame, made the choice of Crash, given the parameters of the award, the logical choice.
All this rending of garments and gnashing of teeth because Brokeback didn’t win Best Picture does, however, speak to a syndrome where a shared communal experience of fantasy shadows in the dark has overtaken reality as a meaningful experience. Now there’s a tragedy worth talking about.
It was nice to see Hoffman win for Capote, but I would have rather see non-stereotypical gay characters recognized.
I second the fact that Mysterious Skin was actually the best “gay film” of the year.
Ya, Mysterious Skin was the best film. In fact it’s my favorite. The film Leon (the professinal) was my favorite before. Wheres the blog about Mysterious Skin?
Brokeback lost because Brokeback became insufferable to audiences. We were no longer entitled to decide who would win. We were told over and over BM would take it and the obnoxiousness reached a fever pitch and the result you saw was the backlash.
I wish people would stop saying that everyone is afraid of gays and that’s why it lost. Hilary Swank and Chloe Sevigny did the same damn thing in Boys Don’t Cry and no one went crazy.
Brokeback lost because there was not an ounce of humility on the project. The actors did it for te Oscars they could win, never for the role and they deserved to lose. You act for the love, not the award.
They attend the ceremony again! Maybe I’m crazy, but I guess Bokeback Mountain won!
Watched the cerimony again, and look for the envelope all the time… It’s possible to read “BROKEBACK MOUNTAIN” no CRASH
PLEASE! HELP ME TO PROVE THIS!
I didn’t see BBM, but I saw some of Crash. I was bored shitless.
In theory, the Oscars celebrate excellence in film. In practice, the Oscars celebrate excellence in promoting both film and celebrity. Studios and record companies spend millions each year whoring their “best” to their respective academies. People with superior output but minimal support or promotion get screwed big time, and no one seems to give a shit. It’s who you know AND who you blow. This applies to the Grammys, the Emmys, the Golden Globes, and almost every major cultural award in the world, save for the Nobel Prizes.