In 1959, Truman Capote learns of the murder of a Kansas family and decides to write a book about the case. While researching for his novel In Cold Blood, Capote forms a relationship with one of the killers, Perry Smith, who is on death row.
Philip Seymour Hoffman,
Clifton Collins Jr.,
In New York City's Harlem circa 1987, an overweight, abused, illiterate teen who is pregnant with her second child is invited to enroll in an alternative school in hopes that her life can head in a new direction.
A raw, powerful story of two young men, a Wyoming ranch hand and a rodeo cowboy, who meet in the summer of 1963 sheepherding in the harsh, high grasslands of contemporary Wyoming and form an unorthodox yet life-long bond--by turns ecstatic, bitter and conflicted. Written by
Larry McMurtry and Diana Ossana
The original short story by Annie Proulx was published in the 13 October 1997 issue of The New Yorker, without the italicized prologue which was included in the later version published in "Close Range", her collection of short stories. Diana Ossana, co-screenwriter and a producer on the film, read it, then asked her colleague Larry McMurtry to read the story. He refused, stating he doesn't read short fiction, because he can't write it. She persisted, however, and he ultimately agreed. McMurtry handled the marital dramas and the Western elements, while Ossana concentrated on the male relationship, McMurtry feeling that he was not up to the task of conveying that realistically. Some reports have it that director Ang Lee barred screenwriter McMurtry from the set of the movie. A spokeswoman for Focus Features, which is producing it, commented: "Larry McMurtry rarely goes on sets because he has very severe allergies." McMurtry was also in the midst of writing a novel when filming began and ended; no one barred him from the set. Ossana was on set during the entire filming. See more »
When Ennis tells Alma that he and Jack are going fishing, he hands Alma Jr. to her. While in her mother's arms, Junior's pajama top hikes up and you can see her microphone cord. See more »
You pair of deuces lookin' for work, I suggest you get your scrawny asses in here pronto.
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I'm 23, and I find it hard to write this review. I saw the film exactly one week ago today and not a moment has gone by when I don't ache. It finds me in the shower; it haunts me in bed; it has filled my mind and clings to my thoughts, and it won't let up. I try to lie to myself, to find some solace by saying that it's just a movie, but I know better. Jack and Ennis are alive, and they represent so many aching people, so many untold stories. There is no contrivance, no manufactured importance; there are no tricks. Brokeback Mountain tells, with painful honesty and frankness, the story of two men's lives and nothing more. Whether you are gay or straight, it doesn't hit close to home: it hits you. Brokeback Mountain is a place we all most desperately yearn to go. It's where we can be free.
It feels funny to say that Brokeback Mountain is my favorite film of all time, because I think it almost an injustice to call it a film at all, or to critique its incredible technical sophistication. Somehow Brokeback Mountain transcends that. I could hear a thousand speeches celebrating diversity or read a hundred love stories and not be absolutely broken in just two hours as I was after this film. I've never felt waves of nausea come over me as I did sitting in that theater, my face contorted as I watched truth and honesty spill from the screen and onto moviegoers who had no idea what they were in for.
I am usually the first to point out bias, so I know my words might be mistaken for favoritism or blind loyalty. They should not. This movie will change your existence. I find so many things in my life trivial now in the wake of this film---for me, watching it was truly like having a near-death experience. And am I better for it? Yes. Broken and undone, but better.
For once in my life, I feel hope, and I've seen love.
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