â BROKEBACK MOUNTAIN DOSSIERâ Dwight A. McBride Few can deny Brokeback Mountainâs accomplishments as a cinematic triumph. It featured phenomenal performances by an ensemble cast, none of whom were Hollywood royalty. It performed well at the box office. It addressed, by all accounts, âcontroversialâ and provocative subject matter. And it made Ang Lee the first Asian to win a best director Oscar. The film was also touted, marketed, and much anticipated long before its initially limited release in theaters. Indeed, it had a successful life on the film festival circuit, commanding top awards in both Berlin and Venice. And in the gay community of Chicago where I live, there was great buzz near summerâs close about the new âgay westernâ that was soon to be released. A Wall Street Journal reporter opined that Brokeback achieved its financial success âby surgically targeting where the movie would play in its initial release; selling it as a romance for women rather than a controversial gay-bashing tale; and opting out of the culture wars rather than engaging them.â An MSNBC reviewer, Erik Lundegaard, also observed that much of Brokebackâs financial success rested with its ability to capture the hearts of middle-American women:
GLQ: A Journal of Lesbian and Gay Studies – Duke University Press
Published: Jan 1, 2007
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