Character contrast between Ennis Del Mar and Jack Twist at the beginning of 'Brokeback Mountain'
Introduction
The film 'Brokeback Mountain' presents to the viewers a story of great tension and, ultimately, tragedy: it is the tale of two men who, living in the throes of the 1960s in Western America, grapple with their positions as lovers destined to be apart; following a spell of undisturbed togetherness in the idyllic wilderness of Brokeback Mountain, where both men had arrived as a means of getting work. It is this pivotal meeting place, where they come to get to know each other and, as time progresses, begin a relationship together (undeclared by both though clearly meaningful), that signals both the beginning and the end of their partnership: declared upon their first encounter at the start of the film, as they await employment; solidified through their moments of intimacy; and dissolved at the two men's departure from Brokeback. All the while, the characters of Ennis and Jack are representative of two separate approaches to their homosexuality and, furthermore, the expression of it: while the former is considerably more tentative, in general manner and in showing affection towards Jack, the latter man is clear in his sexual inclinations from the beginning and forthcoming in all aspects of his disposition. In this way, Ennis is symbolic of 'realism' - the act of seeing and accepting things as they really are - and Jack is symbolising 'idealism,' or the act of conceiving something that is perfect and, simultaneously, unrealistic. This point of thematic contention is what, through acting as the sole factor underlying the later development of the plot post-Brokeback, decides their fate as being doomed - the fundamental differences in the respective approaches to their relationship, proving fatal in the end.
The arrival
During the first scene of the film is when the two focal characters are juxtaposed clearly for the first time. It is the character of Ennis Del Mar that we are shown right from the start, as he jumps out from a truck and, adorning a suede jacket and large cowboy hat, stands outside of the office inside which he hopes to find a job. Immediately, the viewers are introduced to the nature of this character, and without the use of dialogue: evident from the point of his leaning against the trailer-cum-office is Ennis' solemnity, painted through stiff body language and a closed posture; hands, firmly stuffed into the pockets of his coat. Implicit in this physical portrayal of Ennis is the idea that, as a person, he is closed off, an idea represented not only by this portrayal but in the way in which the viewer is denied any backstory or dialogue surrounding the character - with Ennis' exit from the truck occurring without a single word spoken - that could have acted to contextualise his apparent sullen demeanour.
It is from this point, however, that another character is brought into the fray: Jack Twist pulls up to the trailer in what appears to be a rickety and faulty vehicle, for when he parks, it seems to break down, causing the man to mutter an expletive and lightly hit the car. A contrast between the two men, through Jack's manner here, is instantly struck. For a start, it is from the mouth of Jack that we hear the first line of the film; a significant development following the audience's near silent treatment from Ennis, bar the scraping of his shoes across the ground.
Secondly, the overall physicality of Jack is shown to be a point of difference, in his pushing of the old car out of frustration, witnessed only by the watchful eyes of the stoic Ennis, still leaning against the empty trailer. Jack's juxtaposition against Ennis on a physical level is highlighted further when he notices the presence of the other man: turning around to face him before taking a few steps towards the trailer; his movement cut short upon realising Ennis' accentuated non-committal body language. Jack then settles with resting an arm upon his car, facing the other man, smiling almost imperceptibly.
This sequence of actions, in particular the final of which, create the narrative of Jack as a character being significantly more carefree, from his adoption of the contrary open posture in leaning, arm out and looking at Ennis, on his vehicle to his almost instant gravitation towards his counterpart - despite having barely received a glance upwards from him. In these respective characterisations, we are given a subtle exposition as to the dynamics of the pair, with ideas of being 'introvert' and 'extrovert' coming to the fore, but more importantly, their characterisations in relation to the societal context of 'Brokeback Mountain'.
As the film is set in 1963 at the beginning, it can be inferred that in American society as a whole, in particular the country's more rural communities, acts of homosexuality and any notion of same-sex partnership were viewed with scorn; perceived only as criminality or as affronts to God. With this subtext underpinning every scene and interaction in the film from its commencement, the actions of Ennis and Jack during said opening can be analysed through this lens.
In the case of Ennis, a character clearly and intentionally withdrawn, it could be inferred that he, as a homosexual - though perhaps unbeknownst to him at this stage - is similarly closed off with regard to his sexuality; he is conscious of the social climate around him that is demonstrative of extreme hostility towards deviation from the heterosexual norm, this bleak awareness causing the character to recede into a state of stoicism, barely acknowledging the arrival of Jack and the man's subsequent movements. Ennis' persona, therefore, represents the realistic approach that prevails as the narrative unfolds: while physically he is depicted as quite the enigmatic figure, in his stationary presence by the trailer - his leaning, an attempt at blending in with the backdrop - and evident awkwardness regarding his body language, symbolically Ennis is reflective of a just apprehension and aversion to openly displaying any inclination towards homosexuality; that which the society inhabited by both characters would decry and most likely punish them for, the only 'correct' way of living having been long established as strictly heterosexually.
Conversely, the role of Jack in the characters' dynamic - a notably more expressive force physically - is to represent idealism, as a homosexual existing amidst a harsh and stigmatising social climate. Frank is the contrast between Ennis and Jack in their acknowledgement of each other, with the aloof cowboy witnessing the approach and animation of Jack; the latter's behaviour, reflective of an open defiance (however short-lived) in the face of the suppressive 1960s society and a wilful clarity as to his sexual identity; an expression curtailed in part by the downcast gaze of realism, yet expressed all the same.
This opening scene, though seeming simple on the surface, could actually be inferred as the synopsis of the story as a whole, what with the initial exaggeratedness of Jack and Ennis' natures and what they represent on a macro-level. Regardless, the film of course progresses from this introductory point and, so, the narrative of realism versus idealism continues to be constructed; a key illustration of this occurring atop Brokeback.
The mountain
Having scaled the high terrain many a time since first meeting one another, the two main characters inevitably grow close as they work together. We see Ennis, in whom scarcely offered a grunt to Jack or the viewers initially, talking more than he had 'in a year' (by his own admission) with the other cowboy - this gradual de-construction of Ennis' stoic demeanour and highly-built walls, a testament to Jack's determination in getting to know him on a deeper level. A greater depth is given to the pair's companionship when, having spent the night drinking together, they end up having sex; an interaction that was, in part, stimulated by Jack. This is because, prior to this heated moment, he (perhaps still in a half-drunken stupour) pulls the dozing Ennis' hand to himself; an important action, neglecting the headspace of Jack upon performing it, as it reiterates the idea that it is Jack's character that 'permits' the expression of homosexuality through his representation of an idealistic, freer society than was true of 1960s America.
Moreover, we see in a later instance a similar display of intimacy - one of the few dotted throughout the film - that is different to the first in its more ambiguous causation. While it could be argued that the sex between the two men was catalysed mainly by Twist, this scene involves the emotional investment of Del Mar, also. Again, facing the brunt of Brokeback's biting temperatures one night, Ennis retires to the tent, leaving only a dying fire in his wake. There he meets Twist, who is lying shirtless and expectant of other's arrival; he who leans forward and, as in the previously shown moment of intimacy, instigates their showing of attraction in the form of a kiss. Here, at this moment, is where the narrative regarding realism versus idealism reaches its peak: reassured by Twist's repetition of the phrase 'it's alright' - attempting to console a confused and downright ashamed Del Mar - Ennis proceeds to fall slowly into the other man's grasp; running his hands over him as if long-famished of reciprocated affection.
This evaporation of the shame and tension contained within the heart of Ennis occurs in tandem with the merging of that which he represents and what Jack symbolises: with just the two of them, alone in the tranquil wilderness of Signal, Wyoming, the societal constructs preventing them from expressing wholeheartedly their attraction to one another gradually begin to disappear from view. So, then, does Ennis' mask, behind which he hides his adoration and many initially withheld words, begin to slip away just the same. At hearing Jack's comforting utterances, Del Mar fully realises the reality that, atop the mountain and inside the tent, there is no reality - that none of the scorn, shame or punishment for what Ennis and Jack are in the 'real world' can filter into what they have together away from it all, in an environment almost fantastical in its seclusion.
Starkly does this placated and loving Ennis contrast with the Ennis of just a scene prior, in whom says with a shaky certainty that 'I ain't no queer,' a statement indicative of a personal confusion around his own sexuality (that he would not be allowed to openly explore in a normal context) in addition to that of a societally-enforced shame for expressing such a sexuality. In this warm depiction of the two characters embracing one another in shared acknowledgement of their romantic and sexual feelings being 'alright,' we as an audience are given a similar proportion of hope for Ennis and Jack and for the prevalence of their raw, unfiltered love. Sadly, the subsequent developments in 'Brokeback Mountain' assist in bringing us back down to earth - as are the two men, upon learning of the sudden cessation of their time on the mountain, a decision made by their boss Joe Aguirre - and, in the process, the ideas of idealism and realism are separated once more; never again to be combined as they had been atop Brokeback, inside the tent, away from it all.
The descent
The abrupt end of Jack and Ennis' time together on Brokeback Mountain is symbolic of the real world and their inevitable return to it. Their boss acts as the embodiment of the blatant and callous mistreatment of gay people in the 1960s, through his imminent sacking of the ranchers upon growing wise to their relationship. This firing of Ennis and Jack is, in part, what finalises their departure from one another, however, it is during the last scene wherein the cowboys go their separate ways that solidifies the foreseeable, unreconcilable difference between them as being a driving force behind the impossibility of Del Mar and Twist ever being together in their shared reality.
Occurring in this pivotal sequence is a conversation between the two men surrounding their respective plans after leaving the comforting isolation of the mountain. Ennis reiterates his engagement to Alma, his girlfriend, and - avoiding Twist's question as to whether he would be returning to Brokeback the following summer - muses about finding ranch work elsewhere. Meanwhile, Jack, despite his hopes of helping his dad on the family plot, is steadfast in his intention to come back to the mountain for work as he had done two times prior.
Once more, the juxtaposition between Del Mar and Twist, though considerably more subtle this time than in the opening scene, re-emerges. Having seemingly reverted to his initial stubborn realism, a stoic Ennis makes his stance on their relationship clear: that their partnership, in its homosexuality, is unworkable in the modern context; heavily implied by the character reminding Jack, the audience and perhaps even himself about his engagement to Alma. Moreover, the fact that we, the viewers, are yet to be acquainted with Ennis' fiancée forms a narrative of Alma - representing the woman, the wife - being the 'ideal'. Of course, this perception of the ideal, specifically that a the man should date, marry and eventually have children with a woman, is the antithesis to that which Jack views to be the perfect outcome for himself and Ennis. However, the former perspective aligns with the harsh reality that Ennis seems to prioritise above all else - even the man to whom he is so obviously attracted - so much so that the marriage to a woman, regardless of whether the partnership is built upon real love, is to Ennis the only viable course of action for the future.
Showcased through this scene, Jack's polar opposite attitude towards his and Ennis' relationship is genuinely heart-breaking: still entranced by the fantasy-like freedom inadvertently granted to Jack and Ennis to discover their sexuality and attraction to each other on Brokeback Mountain, it could be suggested that the former seriously believes that the experience they had up there could be replicated; further implied by his enquiry about Ennis returning to the mountain next summer, even after he has disclosed his upcoming marriage to Alma. It is also debatable as to whether, upon descending Brokeback, Twist sensed a transition from a dream-like state to being back in reality at all, that which Ennis evidently feels (reflected through his recession into a solitary and emotionally blunt state in front of Jack).
The couple's incompatibility on this fundamental level, at this dramatic 'end' point of their pure and blissful time together on the mountain, is hammered into the heads of the viewers through the polarised psychology of the two: Ennis, set on pursuing the traditional and societally acceptable mode of living (marriage, starting a family) and Jack, naively convinced that the harsh climate of post-war America could ever again accommodate his and Ennis' love in an open context, away from Brokeback Mountain.
Despite such a palpable contrast in perspectives, both men nonetheless display a deep sadness in coming to terms with leaving each other - particularly Ennis who, overwhelmed by the disappearance of Jack's car into the distance, crumples down beside a wall where he proceeds to retch, cry and yell at a staring passer-by. Jack, perhaps surprisingly, is more understated in his expression of distress upon leaving Ennis, merely watching his figure fade through his side mirror; this potentially being evidence to further support the notion that Jack did not for one moment believe his relationship with Ennis to have ended at all.
Conclusion
Throughout the exposition of the film 'Brokeback Mountain,' the audience is exposed to a heartening and hopeful connection, of two men meeting serendipitously on a summer sheep-herding operation and subsequently finding solace and acceptance in one another. We are, however, made wise to the realism and idealism that Ennis and Jack display respectively from the beginning; an unnerving discrepancy that lurks beneath each one of their interactions, however wholesome or promising an interaction it is. This sense of suspense experienced by the audience and maintained by the film's narrative ultimately gives way to the crushing and cruel reality of being gay in post-war Midwestern America: that you could not be gay in post-war Midwestern America. So is Jack's seemingly indomitable idealism and hope for the survival of his and Ennis' romance against the odds made that much more painful to witness as he drives off into the distance, eyes firmly set on Del Mar's receding form, unwittingly leaving the happiest time of his life in the dust.
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