Abstract

Upon the release of Brokeback Mountain, the conservative film critic, Michael Medved, in a television interview, predicted that a gay western – or maybe he called it a gay cowboy movie – would not attract an audience, presumably on grounds that the intersection of the audience for gay movies and the audience for westerns would yield, as the logicians say, the null set. Medved was proven wrong, as Brokeback, which cost $14 million to produce, went on to earn $83 million on first release in the United States (plus $95 million abroad). But Medved was also wrong in his initial description. Although rodeos, horses, and cattle percolate through the film, Brokeback does not fit the classic American Western movie storyline. From the films of William S. Hart and Tom Mix down through Gary Cooper in The Virginian and High Noon, John Wayne in Stagecoach, Alan Ladd in Shane, and Clint Eastwood in The Unforgiven, the Western hero wears a cowboy hat, rides a horse, and carries a gun. His ultimate goal is to save the good folks from the bad guys, and he always succeeds. Brokeback, of course, is not like these films at all. Jack Twist and Ennis Del Mar are not engaged in the Westerner’s project of vanquishing evil. In fact, Ang Lee’s film more closely resembles the stories of such star-crossed lovers as Abelard and Heloise, Tristan and Isolde, and Romeo and Juliet. More interestingly, it fits a narrative pattern common in the nineteenth-century operas of Bellini, Donizetti, Verdi, and Wagner. In..