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As has been famously argued, the closet itself is a socio-cultural instrument that regulates patriarchal “truths” and “knowledges.” Brokeback Mountain foregrounds this "epistemology of the closet" in a climactic way with its open-ended dramatization of Jack’s death. How “real” are the characters and situations depicted by the film? What does the film tell us about the “real” world of men, masculinity, and (homo)sexuality? Brokeback Mountain - both within its running time and within its reception - raises many epistemological concerns. One of the more provocative debates surrounding the release of Brokeback Mountain was its relation to reality. Ultimately, Ennis remains trapped within the role heteronormative culture has forced upon him, just as the whole experience of Brokeback Mountain is reduced to a static postcard stowed away in his closet. It all comes back to the image of affection and sexual desire between men. Sam was left the ranch but could not defend his claim to it because of Oklahoma's sodomy laws. The Dallas Morning News ran a story on two ranchers who were a devoted couple for 24 years - Sam Beaumont and Earl Meadows.
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The film privileges Ennis’s version of Jack’s death by visualizing it, yet Jack’s death remains as much of a mystery as was his life.įar from presenting Lureen as a “brittle big-haired harpy,” as some commentators argued, the film suggests that she too has suffered the soul-deadening effects of the closet. When he talks to Lureen on the phone, Ennis imagines that Jack was murdered by gay bashers with a tire iron-that his death was not an accident as she claims. Jack’s cold and surly father seems to know all about Jack and Ennis, but cannot nor will not speak the truth.