Brokeback Mountain: Story to Screenplay

Most professional writers regard short stories as a singularly difficult genre. The brevity involved requires a unique gift for precision, a gift that many authors lack. First published in 1997 in the New Yorker, as printed here Annie Proulx's story runs to slightly less than twenty eight pages; nonetheless, the story spans some twenty years and encompasses numerous and very vividly created characters--and it presents an unflinching tale. Proulx's prose is quite stark in directness and drive, and she presents her story with a remarkable clarity and grace. Ennis Del Mar and Jack Twist are two uneducated, itinerant ranch hands who meet when they are hired to tend sheep on Brokeback Mountain in the summer of 1963. Alone on the mountain, they begin a sexual relationship which they regard as 'just sex'--but which very quickly develops into a love which, given their backgrounds and era, neither can accept as such. When the summer ends, they go on to lives in the greater world, marriages, children, and all the things that a man is expected to do; even so, their need for each for each other will not be so casually dismissed, and in their failure to recognize it for what it is, and in society's refusal to allow them leaway, they will self-destruct in the most bitter way imaginable. The short story received considerable attention in 1997, and it soon fell into the hands of screenwriter Diana Ossana, who in turn passed it to partner and Pulizter Prize-winning author Larry McMurtry. Recognizing the power of the story, the two acquired the rights to adapt the story into a screenplay. Many who read the screenplay praised it--but in truth, it raised more eyebrows than practical interest. Few producers were remotely interested in a script about gay men, much less gay men in a western setting. In time, however, the screenplay came to the attention of film producer Michael Costigan and the details began to fall into place. Directed by Ang Lee and starring Heath Ledger and Jake Gyllenhaal, BROKEBACK MOUNTAIN began filming in 2004. Budgeted a fourteen million dollars, it was considered a "small" film that might do well in urban markets, at least well enough to make back its cost, but nothing more. The film opened in limited release in December of 2005--and critical reception was astonishing. With so many accolades, a savvy marketing campaign was developed to place the film before an ever-expanding market, a host of Academy Award nominations further fueled interest, and within slightly less than three months $118 million dollars world wide. It was a truly astounding, truly unexpected reception. While the Hollywood media machine has inevitably focused on the actors, critics have praised the script as an almost miraculous adaptation of the original story, and it is here published for the first time. Like the story itself, it is remarkable for fusion of sparse dialogue and unexpected poetry, and it reads extremely well. McMurtry and Ossana truly deserve the many critical accolades laid at their feet. The short story and the screenplay are accompanied by three essays by Proulx, McMurtry, and Ossana. All are interesting in their own way, with McMurtry commenting on the issues that surround adaptation of literary material to the screen and Ossana focusing on the processes that eventually brought the script to the screen; the most interesting essay, however is by Proulx, who discusses her inspirations for the story and the sources from which the numerous ideas and images it contains arose. The short story "Brokeback Mountain" is available in several editions, including a stand-alone printing and in Proulx's memorable collection of short fiction, CLOSE RANGE. I would personally recommend the latter--but if you are specifically interested in the screenplay as well, this is your chance. Recommended. GFT, Amazon Reviewer

Some superficial people have focused on the film "Brokeback Mountain" as being about "those two cowboys having sex." Some men complain about getting dragged by their girlfriends and forced to watch (evidence of their sexual insecurity). There has even been some criticism from gay men who hate the film. Maybe that is because they didn't read the book and screenplay, which clarifies the burgeoning transformation of Ennis into a more emotionally evolved person at the end of the story. The fearful attitude holding Ennis back in his life, is the same fearful attitude that is preventing certain people from fully understanding this literary masterpiece. I found myself, during the film, questioning lines as the dialogue was often hard to sort because of the dialect and low cinema sound. I read the short story and that didn't help to fill in all of the more obscure lines. I then saw the film again. Upon a third viewing of the film, even more was made prevalent (better cinema sound). I then decided to get this screenplay, and the dialogue was clarified and enhanced by the direction lines between the dialogue. Like any great work of art, it is multi-dimensional and must be studied to be appreciated fully. There are interesting differences between the short story and screenplay, which must be noted keeping in mind the overall theme of fearfulness and sexual insecurity. One must note Jack's childhood physical/psychological abuse left out of the screenplay as compared to Ennis'. Our experiences shape our lives, and I can't help but to think of that song from "Into the Woods" titled "Children Will Listen", and then thinking of the dissatisfactory child-hoods of the men. I have tried to find something about this book, and film that I don't like, and simply cannot. The way the story is written and filmed is astounding. "Brokeback Mountain" will be around for a long time in the minds of people who read it. The three essays by Proulx, McMurtry, and Ossana at the end are a nice insightful addition. Larry McMurtry said at the awards show that we shouldn't forget the booksellers and the books (paraphrased), upon accepting the Oscar for best adapted screenplay.

Absolutely incredible book! Very interesting and came in INCREDIBLE condition!

First I must stipulate that I have not seen the movie, so my mental pictures have not been influenced by any actor's interpretation. Ms. Proulx's novella is a model of its kind. In 50(Kindle)pages, she has delineated a relationship which goes far deeper than that rendered every day in an ordinary love story. She shows how two ill-educated, rough-living young men barely out of adolescence, who have led lives empty of even ordinary parental affection, suddenly find themselves locked together in an emotional union which, being homoerotic, can be expressed only furtively and at murderous risk. They cannot remain together, and she describes their subsequent lives in sentences in which not a word is wasted. Their groping language, on the volcanic occasions when they do meet, is rendered with surgical precision. The screenplay version of the book shows just how skilful Ms. Proulx is. To produce a creditable movie, her adaptors, Larry McMurtry and Diana Ossana, formidable writers in their own right, had to add extra material to bridge some narrative gaps. The result is a classic case of too much information: the screenplay is a locomotive in ruffles.

There has been some time and distance since my first introduction to BROKEBACK MOUNTAIN. It was shortly before the limited release date of the film on December 9, 2005. I don't even remember what feature film I had gone that day to see, but I remember the preview of BROKEBACK MOUNTAIN vividly. As I walked out of the theater, I made it a point to ask if the film would be coming to that particular location. The manager was standing near by and told me that it would not; that when it was released in our area, it would be most likely in special art theatres. It didn't come to my area until sometime in January, 2006. Before it's arrival, I had read Annie Proulx' short story by the same name four times. It was not only in the collection of short stories CLOSE RANGE: WYOMING STORIES but had also been released in a fifty-five page hardback edition on it's own because it was now a major motion picture. The first time I saw the film, I already understood the loneliness that existed in Ennis Del Mar's and Jack Twist's lives and what made them latch onto each other that summer on Brokeback Mountain. What I didn't know and was not prepared for was how well the screenplay would enhance the story and fill in the gaps that the story hinted at but left the reader only to imagine. Nor could I know that the actors who played Ennis, Jack, Alma, Lureen, Aguirre, Alma Jr., Fayette and L. D. Newsome, Cassie, and Jack's mother and father would flesh out their characters so well that they would become like real people to me, even more real. The film had a life changing effect on me. I had lied to myself for years believing that I didn't desire or need someone to be in love with, not in the way that Ennis and Jack loved each other. I came away knowing that passion like that is worth it even when you lose as Ennis and Jack did. I've lost count of how many times I've read the story and seen the film especially since I own the DVD and it's magic has not left me still. I bought the book BROKEBACK MOUNTAIN: STORY TO SCREENPLAY because I wanted the story and screenplay in print together for easier comparison. The three essays by Annie Proulx, Larry McMurtry, and Diana Ossana at the end are icing on the cake. The fact that this story became a full length feature is a major miracle and the world is greatly heightened by it.

Both the short story and screenplay are likely to move you to tears, make you feel like somebody's pulling your guts out hand over hand a yard at a time, as Annie Proulx writes of Ennis. They can also make you treasure love more. Proulx's prose is pure poetry. The screenplay is a terrific read and a faithful adaptation and expansion. It's fascinating to have them side by side, to see how certain characters and events were fleshed out... how, for example a single sentence (about a terrible misunderstanding of Jack's, for those who know the story) became a tear-jerking three-page sequence of scenes. The story, script and movie all add depth to each other, like three tellings of the same tale that emphasize different shades. If you're interested in delving deeper into the lives and loves of these characters and the starkly beautiful honesty of this world, buy this book. In addition to the story and script, the book includes three eloquent essays by Proulx and each of the screenwriters, Larry McMurtry and Diana Ossana. These offer a good deal of insight and color to the story and whole development process, from Proulx's germ of an idea for a short story to the screenwriters shepherding the project for years, to each of their reactions to the final film. Fascinating and powerful. Strongly recommended.

First, I must say how much I loved BBM-the film. It effected me so much, I can't stop thinking of it. Powerful, heartbreaking love story. Direction, acting, etc., etc. superb. So very sad. Now - the short story. I did find Ms. Proulx's original story just a tiny bit disappointing. It's so short!! And because I always had the images of the film before me and, of course, the images of the young and handsome Heath and Jake. But I am not denigrating the short story at all; I say this only because I found the descriptions of Ennis & Jack in the short story not as "handsome" as I thought they might have been. (Hope I made this clear)! But Ms. Proulx's essay at the end of the book gave me a much greater understanding of her sparse and concise writing. Now - the screenplay. It is just great. For Mr. McMurtry and Ms. Ossana to take this short story, words off pages, flesh it all out, and turn it into such a great screenplay for film is just amazing. I weep at the fates of both Jack and Ennis; the fact of their not being together effects their entire lives and the other characters in their lives. So awfully sad. And - Mr. McMurtry's and Ms. Ossana's essays at the end of the book are just as informative and satisfying.

A "must-have" for anyone who has been touched by this extraordinary, complex, and profound film. (To describe "Brokeback Mountain" simply as a love story between two men is like describing "Moby Dick" as a story about deep-sea fishing.) Comparing the movie script with the original short story helps you see the various layers and subtexts underlying the main story line and leads to a deeper understanding of both the short story and the film. Highly recommended also for anyone who has not yet read Proulx --- her work is unforgettable. She can create a more stunning impact with fewer words than any writer I know. Her essay on being "movied" is fascinating, including, among other things, her inspiration for some of the major scenes in the book; the pieces by Larry McMurtry and Dana Ossana are very rewarding to read. It's a terrific story, a fabulous and haunting film, and this book helps you realize how much is being said in both of them.

arkadaşıma aldım dünyanın en mutlu insanı oldu süper kitap

The book has the full short story from the anthology, and one version of the screenplay. The script in the movie has some differences. There are a few pages of photos in the middle, and 3 interviews with the authors at the end.

Amazing book, amazing story, real and strong emotions. Annie Proulx is a gifted writer and the story line is so delicate and romantic. The Screenplay was way cooler and went in great depths about the love between the men as well as more backstories about their lives and spouse's.

La couverture du livre laisse à désirer

Eiga no koto o shitte kara kono ohanashi ga sugoku kininatte, yonde mimashita. nakimashita.. bukiyou de bukotsu de, shigoto demo katei demo saenai inaka otoko futari wa, tada zutto issho ni itai dake nanoni, dooshiyoo mo nai noga setsunaku, kuyashii. ai o mamoru tame, karera no paradise: Brokeback no omoide dake o taisetsu ni shita futari no, uchi ni himeta kurushimi ni namida sezu niwa iraremasen. saigo no "and if you can't fix it you've got to stand it" to iu, Ennis ga katsute Jack ni itta serifu to onaji line ga kanashikute, ikiru koto, shiawase towa nani nanoka, story o omoidashitewa kangaete shimaimasu. screenplay wa plain na mono deshita ga, korega donna enshutsu de eiga ni natte irunoka, nihon kookai ga matenai! hayaku mitai desu!