最powerful的ending
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Ennis在听到女儿要结婚了后的reaction--皱皱眉头有一点担心：女儿是不是和她真正命中注定的人结婚？折射他对人生的感受，这将压抑推到极点，到跟着下来的轻轻的一句“Jack,I swear--"就爆发了。
表现人的内心深处的矛盾没有人比李安更擅长。象“理性和感性”里保守的社会想越轨追求自我，“冰风暴”里开放叛逆的时代里内心回归保守的本性。
李安的真正算得上“好莱坞”式的电影是上一部“绿巨人”，如果说这部是他的一部“失败”的电影的话也是光荣的“失败”，他要给予“绿巨人”内心的挣扎，而一般观众对“绿巨人”已有定性的理解，他们想要的不是这些。但是起码我们欣赏他的努力。
很高兴李安又回来了。
表现人的内心深处的矛盾没有人比李安更擅长。象“理性和感性”里保守的社会想越轨追求自我，“冰风暴”里开放叛逆的时代里内心回归保守的本性。
李安的真正算得上“好莱坞”式的电影是上一部“绿巨人”，如果说这部是他的一部“失败”的电影的话也是光荣的“失败”，他要给予“绿巨人”内心的挣扎，而一般观众对“绿巨人”已有定性的理解，他们想要的不是这些。但是起码我们欣赏他的努力。
很高兴李安又回来了。
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Re: Re: 最powerful的ending
you are not alone rain middle flower, see these from www.annieproulx.com-----
1,Well i have not seen to many guys on here who say they are straight and saw the movie. I have seen the film and read the book and the screen play.
I must say the movie just knocked me out. It just rips your guts out. Anything that you have saddness about in your life past or present, this film will bring it to the surfave and make you deal with it again. The story is just so sadd so strong it draws you in and will not let you go.
This film hung with me for several days. At first its the story / film that brings saddness and then several day later i was having issues still thinking about it and then all the past saddness in my life came forward again as i thought about the story the film and issues in my own life.
After several days i am feeling better, its very much like when you lose a loved one. Time helps you get over it, but i am still and i think will be for some time very much moved by this film.
If you really think about it you can take the gay issues out of this film, Everyone has had something in there life that loved and lost or regreeated not going after, or were afraid to go after.
My hat is off the Annie, the entire film cast, the screen writers, and Mr. Lee for a great all round job.
Id love to know what you guys think.
2,am I obsessed or just smitten. I stopped going to movies a long time ago. I am a 58 year old woman. I am seperated from my 3rd husband altho he lives upstairs in a duplex and lets me live for free downstairs as I am now on social security disability. On 12/22, my birthday (right after I found out I had 2 kinds of thyroid cancer--thank goodness not the Rehnquist kind-one they seemed to have gotten out with my thytoid surgery I later found out this month and the other I will be treated for, it is quite common)-I went to see Brokebak Mountain and I was ALONE--and BOOM...this movie reached into a part of my soul and I cannot stop thinking about it. I bought the soundtrack, screenplay, short story, photos off of ebay from the movie. I have been to see this movie 8 times as of today-and probably will go tomorrow. For some strange, deep reason, it gives me a peace for the 2 hours and 14 minutes it is on the screen. I can take myself away almost mentally and step into the movie and feel so many different emotions until the movie is over. I wonder..am I obsessed? I hope this calms down-but every time I see this movie I feel as if I am transported outta here and all the ugliness that the Bush administration and the corruption and hate and divisness can slide away for a while-and I am with Ennis and Jack and Alma, etc. No movie has ever touched me like this one has - ever. I was in a wonderful movie (i was child actress) in 1959 called Imitation of Life. In it's day it was controversial and it is a tearjerker...with a really emotional ending. Does anyone else feel like me? I cannot read enough about this, I cannot wait until the Golden Globe awards in a couple of days, I can't get this out of my mind and soul. And right now, I do not want to. I too, lived my life trying to get the approval of others...not trying to find a way to approve of myself. This movie touches something deep inside of me. Thank you Annie. Karin
.......
you are not alone rain middle flower, see these from www.annieproulx.com-----
1,Well i have not seen to many guys on here who say they are straight and saw the movie. I have seen the film and read the book and the screen play.
I must say the movie just knocked me out. It just rips your guts out. Anything that you have saddness about in your life past or present, this film will bring it to the surfave and make you deal with it again. The story is just so sadd so strong it draws you in and will not let you go.
This film hung with me for several days. At first its the story / film that brings saddness and then several day later i was having issues still thinking about it and then all the past saddness in my life came forward again as i thought about the story the film and issues in my own life.
After several days i am feeling better, its very much like when you lose a loved one. Time helps you get over it, but i am still and i think will be for some time very much moved by this film.
If you really think about it you can take the gay issues out of this film, Everyone has had something in there life that loved and lost or regreeated not going after, or were afraid to go after.
My hat is off the Annie, the entire film cast, the screen writers, and Mr. Lee for a great all round job.
Id love to know what you guys think.
2,am I obsessed or just smitten. I stopped going to movies a long time ago. I am a 58 year old woman. I am seperated from my 3rd husband altho he lives upstairs in a duplex and lets me live for free downstairs as I am now on social security disability. On 12/22, my birthday (right after I found out I had 2 kinds of thyroid cancer--thank goodness not the Rehnquist kind-one they seemed to have gotten out with my thytoid surgery I later found out this month and the other I will be treated for, it is quite common)-I went to see Brokebak Mountain and I was ALONE--and BOOM...this movie reached into a part of my soul and I cannot stop thinking about it. I bought the soundtrack, screenplay, short story, photos off of ebay from the movie. I have been to see this movie 8 times as of today-and probably will go tomorrow. For some strange, deep reason, it gives me a peace for the 2 hours and 14 minutes it is on the screen. I can take myself away almost mentally and step into the movie and feel so many different emotions until the movie is over. I wonder..am I obsessed? I hope this calms down-but every time I see this movie I feel as if I am transported outta here and all the ugliness that the Bush administration and the corruption and hate and divisness can slide away for a while-and I am with Ennis and Jack and Alma, etc. No movie has ever touched me like this one has - ever. I was in a wonderful movie (i was child actress) in 1959 called Imitation of Life. In it's day it was controversial and it is a tearjerker...with a really emotional ending. Does anyone else feel like me? I cannot read enough about this, I cannot wait until the Golden Globe awards in a couple of days, I can't get this out of my mind and soul. And right now, I do not want to. I too, lived my life trying to get the approval of others...not trying to find a way to approve of myself. This movie touches something deep inside of me. Thank you Annie. Karin
.......
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From Newsweek, November 21, 2005 issue
"Forbidden Territory"
By Sean Smith
Two weeks ago, Ang Lee showed his new film to an audience in Los Angeles, and afterward he stuck around to answer questions from the crowd. Director Q&As are industry, and Lee-who won an Oscar for "Crouching Tiger, Hidden Dragon" and has directed such acclaimed films as "The Ice Storm" and "Sense and Sensiblity"-ha done more than his share. But something strange happened this time-the same thing that happens almost every time Lee screens "Brokeback Mountain." "People don't have many questions," he says. "Most of the time, they just stand up and tell me how they feel." When they're still crying, he already knows.
Based on the short story by Pulitzer Prize-winning author Annie Proulx ("The Shipping News"), "Brokeback" is the tale of Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal), two ranch hands who, in the summer of 1963, are hired to herd sheep on Wyoming's Brokeback Mountain. There, separated from the world, their laconic friendship develops, almost by accident, into a sexual relationship. As the summer ends, the two men are forced to separate, and they discover that their feelings for each other are stronger than they imagined. Jack dreams of buying a ranch together. Ennis thinks they'll be killed if anyone suspects their relationship. And so they marry women and have children, and for 20 years live apart, seeing each other only on rare camping trips, trying to hold on to the innocence and beauty of that first summer on the mountain. Inevitably, the longing and frustration, the years of repression, lead to a devastating conclusion.
Proulx's story caused a sensation when it appeared in the New Yorker eight years ago. Its raw masculinity, spare dialogue and lonely imagery subverted the myth of the American cowboy and obliterated gay stereotypes. It also felt like a sledgehammer to the chest. "This is a deep, permanent condition, this need to be loved and to love," says Proulx from her home in Wyoming. "While I was working on this story, I was occassionally close to tears. I felt guilty that their lives were so difficult, yet there was nothing I could do about it. It couldn't end any other way."
The film, written by Larry McMurtry and Diana Ossana, is a near-perfect adaptation of Proulx's work. It has already earned the top prize at the Venice Film Festival and is almost certain to be an Oscar contender. More than that, though, "Brokeback" feels like a landmark film. No American flim before has portrayed love between two men as something this pure and sacred. As such, it has the potential to change the national conversation and to challenge people's ideas about the value and validity of same-sex relationships. In the meantime, it's already upended decades of Hollywood conventional wisdom.
The day Jake Gyllenhaal was cast in "Brokeback", the chatter around the industry was not about what a wise choice he'd made. "It's the most stupid move he could make," said one top producer over lunch that afternoon. "It'll alienate his teen-girl fan base and could kill his career. What a waste." It's always been considered risky, if not career suicide, for actors with A-list aspirations to play gay roles. Tom Hanks's performance in "Philadelphia" helped a little, but even Hanks didn't kiss another man on screen. Gyllenhaal and Ledger don't dodge it. The kissing and sex scenes are fierce and full-blooded. But if the actors were taking a risk, they sure don't seem to think so. "I never thought twice about it," Ledger says. "For one thing, I never felt like I had anything at stake, and I think if you make decisions based on society's opinions, you're going to make boring choices. What terrified me was self-doubt. I knew that if I was going to do justice to this character, to this story and to this form of love, I was really going to have to mature as an actor, and as a person."
There's no doubt he rose to the challenge. It is, without question, his most powerful performance ever. Far from killing Ledger's career, which was in trouble after a string of failures, the movie has reignited it. Gyllenhaal isn't exactly hunting for work, either. "They were like the beta-testing guys," says James Schamus, co-president of Focus Features, who has produced all of Lee's films and is releasing "Brokeback". "They've had to go through the endless questions about 'So, what was it like to kiss a guy?'"
Yes, they get asked about the sex a lot. "I'm amazed, really," Gyllenhaal says, laughing. "Everybody is soooo interested in it." And their conversations with journalists have given them fresh insight into straight-male philosophy. After seeing the movie, Gyllenhaal says, male reporters will enter a room to interview him and almost always follow the same routine. "They come in and they're all, like, 'I just want you to know I'm straight'," he says, and laughs. If they've been moved by the film, he says, they often rationalize it by saying things like "Well, it's more of a friendship." No, it isn't. "It's a love story," Gyllenhaal says. "They're two men having sex. There's nothing hidden there." Ledger has a theory about why the movie makes some men uncomfortable. "I suspect it's a fear that they are going to enjoy it," he says. "They don't understand that you are not going to become sexually attracted to men by recognizing the beauty of a love story between two men."
That discomfort would seen to make the movie difficult to market. When the trailer plays in theaters where there are a lot of young men in the audience, it's often met with snickers or outright laughter. How do you get those guys to see the movie? You don't. "If you have a problem with the subject matter, that's your problem, not mine," Schamus says. "It would be great if you got over your problem, but I'm not sitting here trying to figure out how to help you with it." In an early meeting, Schamus told Lee that, from a marketing standpoint, they were making this film for one core audience. "Yes, of course," Lee said. "The gay audience." No, Schamus said. "Women."
When it came time to design the poster for the film, Schamus didn't research posters of famous Westerns for ideas. He looked at the posters of the 50 most romantic movies ever made. "If you look at the poster," he says,"you can see traces of our inspiration, 'Titanic'." Still, questions remain about whether the film will play in rural America, and whether it can make a profit if only women and gay men go to see it. But Schamus says that by selling off the international distribution rights, Focus has already broken even on the film. "Literally, if your mom and my mom go to the theater, we're in profit," he says, laughing.
And it's likely that more than our mothers will buy tickets. The constant stream of positive word of mouth is turning it into a must-see for film-lovers. More encouraging to the filmmakers, however, is that it's often having a profound effect on people-even the most seemingly cynical. At the Toronto Film Festival, Lee and the cast faced off against a room of reporters who had just seen the film. One blogger raised his hand and stood up. He didn't have a question, he said. He wanted to apologize. "For the last year on my Web site I've been calling this 'the gay-cowboy movie'," he said. "I just want you to know that I'm not going to be calling it that anymore."
"Forbidden Territory"
By Sean Smith
Two weeks ago, Ang Lee showed his new film to an audience in Los Angeles, and afterward he stuck around to answer questions from the crowd. Director Q&As are industry, and Lee-who won an Oscar for "Crouching Tiger, Hidden Dragon" and has directed such acclaimed films as "The Ice Storm" and "Sense and Sensiblity"-ha done more than his share. But something strange happened this time-the same thing that happens almost every time Lee screens "Brokeback Mountain." "People don't have many questions," he says. "Most of the time, they just stand up and tell me how they feel." When they're still crying, he already knows.
Based on the short story by Pulitzer Prize-winning author Annie Proulx ("The Shipping News"), "Brokeback" is the tale of Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal), two ranch hands who, in the summer of 1963, are hired to herd sheep on Wyoming's Brokeback Mountain. There, separated from the world, their laconic friendship develops, almost by accident, into a sexual relationship. As the summer ends, the two men are forced to separate, and they discover that their feelings for each other are stronger than they imagined. Jack dreams of buying a ranch together. Ennis thinks they'll be killed if anyone suspects their relationship. And so they marry women and have children, and for 20 years live apart, seeing each other only on rare camping trips, trying to hold on to the innocence and beauty of that first summer on the mountain. Inevitably, the longing and frustration, the years of repression, lead to a devastating conclusion.
Proulx's story caused a sensation when it appeared in the New Yorker eight years ago. Its raw masculinity, spare dialogue and lonely imagery subverted the myth of the American cowboy and obliterated gay stereotypes. It also felt like a sledgehammer to the chest. "This is a deep, permanent condition, this need to be loved and to love," says Proulx from her home in Wyoming. "While I was working on this story, I was occassionally close to tears. I felt guilty that their lives were so difficult, yet there was nothing I could do about it. It couldn't end any other way."
The film, written by Larry McMurtry and Diana Ossana, is a near-perfect adaptation of Proulx's work. It has already earned the top prize at the Venice Film Festival and is almost certain to be an Oscar contender. More than that, though, "Brokeback" feels like a landmark film. No American flim before has portrayed love between two men as something this pure and sacred. As such, it has the potential to change the national conversation and to challenge people's ideas about the value and validity of same-sex relationships. In the meantime, it's already upended decades of Hollywood conventional wisdom.
The day Jake Gyllenhaal was cast in "Brokeback", the chatter around the industry was not about what a wise choice he'd made. "It's the most stupid move he could make," said one top producer over lunch that afternoon. "It'll alienate his teen-girl fan base and could kill his career. What a waste." It's always been considered risky, if not career suicide, for actors with A-list aspirations to play gay roles. Tom Hanks's performance in "Philadelphia" helped a little, but even Hanks didn't kiss another man on screen. Gyllenhaal and Ledger don't dodge it. The kissing and sex scenes are fierce and full-blooded. But if the actors were taking a risk, they sure don't seem to think so. "I never thought twice about it," Ledger says. "For one thing, I never felt like I had anything at stake, and I think if you make decisions based on society's opinions, you're going to make boring choices. What terrified me was self-doubt. I knew that if I was going to do justice to this character, to this story and to this form of love, I was really going to have to mature as an actor, and as a person."
There's no doubt he rose to the challenge. It is, without question, his most powerful performance ever. Far from killing Ledger's career, which was in trouble after a string of failures, the movie has reignited it. Gyllenhaal isn't exactly hunting for work, either. "They were like the beta-testing guys," says James Schamus, co-president of Focus Features, who has produced all of Lee's films and is releasing "Brokeback". "They've had to go through the endless questions about 'So, what was it like to kiss a guy?'"
Yes, they get asked about the sex a lot. "I'm amazed, really," Gyllenhaal says, laughing. "Everybody is soooo interested in it." And their conversations with journalists have given them fresh insight into straight-male philosophy. After seeing the movie, Gyllenhaal says, male reporters will enter a room to interview him and almost always follow the same routine. "They come in and they're all, like, 'I just want you to know I'm straight'," he says, and laughs. If they've been moved by the film, he says, they often rationalize it by saying things like "Well, it's more of a friendship." No, it isn't. "It's a love story," Gyllenhaal says. "They're two men having sex. There's nothing hidden there." Ledger has a theory about why the movie makes some men uncomfortable. "I suspect it's a fear that they are going to enjoy it," he says. "They don't understand that you are not going to become sexually attracted to men by recognizing the beauty of a love story between two men."
That discomfort would seen to make the movie difficult to market. When the trailer plays in theaters where there are a lot of young men in the audience, it's often met with snickers or outright laughter. How do you get those guys to see the movie? You don't. "If you have a problem with the subject matter, that's your problem, not mine," Schamus says. "It would be great if you got over your problem, but I'm not sitting here trying to figure out how to help you with it." In an early meeting, Schamus told Lee that, from a marketing standpoint, they were making this film for one core audience. "Yes, of course," Lee said. "The gay audience." No, Schamus said. "Women."
When it came time to design the poster for the film, Schamus didn't research posters of famous Westerns for ideas. He looked at the posters of the 50 most romantic movies ever made. "If you look at the poster," he says,"you can see traces of our inspiration, 'Titanic'." Still, questions remain about whether the film will play in rural America, and whether it can make a profit if only women and gay men go to see it. But Schamus says that by selling off the international distribution rights, Focus has already broken even on the film. "Literally, if your mom and my mom go to the theater, we're in profit," he says, laughing.
And it's likely that more than our mothers will buy tickets. The constant stream of positive word of mouth is turning it into a must-see for film-lovers. More encouraging to the filmmakers, however, is that it's often having a profound effect on people-even the most seemingly cynical. At the Toronto Film Festival, Lee and the cast faced off against a room of reporters who had just seen the film. One blogger raised his hand and stood up. He didn't have a question, he said. He wanted to apologize. "For the last year on my Web site I've been calling this 'the gay-cowboy movie'," he said. "I just want you to know that I'm not going to be calling it that anymore."
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Re: Re: 最powerful的ending
昨天晚上去看了这部电影。也是“泪如泉涌，怎么都止不住”，从Jack对Ennis说，你无法想象我对你的思念那一个镜头开始。
今天一整天，我们都在回忆电影里的情节。P最为之感动的是Jack的妈妈用纸袋把Ennis从Jack房间拿走的衣服包起来的那一幕――他们之间的默契，他们对Jack的爱。我想得最多的还是他们离别4年后重逢的拥抱。这一场爱情被诠释得太感人了。
Heath Ledger和Jake Gyllenhaal遇上李安，是他们的运气，不过，他们的表现实在是
昨天晚上去看了这部电影。也是“泪如泉涌，怎么都止不住”，从Jack对Ennis说，你无法想象我对你的思念那一个镜头开始。
今天一整天，我们都在回忆电影里的情节。P最为之感动的是Jack的妈妈用纸袋把Ennis从Jack房间拿走的衣服包起来的那一幕――他们之间的默契，他们对Jack的爱。我想得最多的还是他们离别4年后重逢的拥抱。这一场爱情被诠释得太感人了。
Heath Ledger和Jake Gyllenhaal遇上李安，是他们的运气，不过，他们的表现实在是
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Re: Re: 最powerful的ending
我想这是他终于能诚实的面对自己，这是很多人都可以从不同的角度被感动的原因，同性恋异性恋都没关系，甚至别的，比如以前小马哥卡尔顿毕业后说的假如再来过一次一定学自己喜欢的，李安说人人心里都有一座断背山，断背山可以不一定是同性恋异性恋，所以这部片是关于人生的。
最初由 sourcil 发布
还是忍不住跑上来写几句
那两件带有血迹的衣服，是Ennis对自己感情的压抑和引以为耻的见证。我觉得他要说的是, I swear I would've done it differently. 他们曾经有那么多机会。
我想这是他终于能诚实的面对自己，这是很多人都可以从不同的角度被感动的原因，同性恋异性恋都没关系，甚至别的，比如以前小马哥卡尔顿毕业后说的假如再来过一次一定学自己喜欢的，李安说人人心里都有一座断背山，断背山可以不一定是同性恋异性恋，所以这部片是关于人生的。
我也说两句.
实在是有点惊讶这儿有如此多的人能如此沉浸于这部片子中.尤其是男同胞们.我也是刚刚看的这部片子.男同性恋题材的敏感本质一直困扰着我,生理上的本能抗拒造成我几乎完全无法沉浸在电影制造的氛围里.我能感觉到格外提到的悲凉,但更多的是从理智上.我的感性本能大概一直在忙着跟这个同性恋题材较劲...
其实,我绝不是那种会对同性恋说三道四的人.恰恰相反,我自己的朋友就有在20年前的中国就挑明自己是gay的人.可是我还是无法完全让自己放松的接受这部影片.事后自己想想,大概是男性尊严和自己的男性认同感受到挑战了吧.可能是移情作用?搞不清楚.欢迎探讨.
另外,还能感受到一点"威胁".一种对男人间的友谊的威胁.单纯的兄弟感情从此有了向肉欲方向发展的可能性?我不知道.反正我老婆就跟我开玩笑说以后夏天钓鱼要小心点了.
非常感谢各位的文字还有wuwei的转帖帮我开阔了一下思路.很高兴能换个角度看看这部电影.
实在是有点惊讶这儿有如此多的人能如此沉浸于这部片子中.尤其是男同胞们.我也是刚刚看的这部片子.男同性恋题材的敏感本质一直困扰着我,生理上的本能抗拒造成我几乎完全无法沉浸在电影制造的氛围里.我能感觉到格外提到的悲凉,但更多的是从理智上.我的感性本能大概一直在忙着跟这个同性恋题材较劲...
其实,我绝不是那种会对同性恋说三道四的人.恰恰相反,我自己的朋友就有在20年前的中国就挑明自己是gay的人.可是我还是无法完全让自己放松的接受这部影片.事后自己想想,大概是男性尊严和自己的男性认同感受到挑战了吧.可能是移情作用?搞不清楚.欢迎探讨.
另外,还能感受到一点"威胁".一种对男人间的友谊的威胁.单纯的兄弟感情从此有了向肉欲方向发展的可能性?我不知道.反正我老婆就跟我开玩笑说以后夏天钓鱼要小心点了.
非常感谢各位的文字还有wuwei的转帖帮我开阔了一下思路.很高兴能换个角度看看这部电影.
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也来说两句
一直认定，“好的艺术作品，必不诉求于所有人”。只诉求于其有所感有所悟之有缘人。
影片中出现大量的静默片断，看似沉闷，实乃李安在诠释人物内心情爱冲突和矛盾的新手法。用空间代替对白，给人一种“you say it best, when you say nothing at all”的艺术感受。
与卧虎藏龙的唯美风格相比，不得不让人PF他在导演方面的多样才华和对自我的大胆突破。
除了ENDING，二人在断臂山湖畔最后的对白也堪称此片亮点。那种谁也不知的“此刻一别，天人永隔”的命运安排，给最后的ENDING打下了坚实的铺垫。
一直认定，“好的艺术作品，必不诉求于所有人”。只诉求于其有所感有所悟之有缘人。
影片中出现大量的静默片断，看似沉闷，实乃李安在诠释人物内心情爱冲突和矛盾的新手法。用空间代替对白，给人一种“you say it best, when you say nothing at all”的艺术感受。
与卧虎藏龙的唯美风格相比，不得不让人PF他在导演方面的多样才华和对自我的大胆突破。
除了ENDING，二人在断臂山湖畔最后的对白也堪称此片亮点。那种谁也不知的“此刻一别，天人永隔”的命运安排，给最后的ENDING打下了坚实的铺垫。
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原著作者Annie Proulx的访谈：
“AP: What did you think of the performances by Heath Ledger and Jake Gyllenhaal?
Proulx: I thought they were magnificent, both of them. Jake Gyllenhaal's Jack Twist...wasn't the Jack Twist that I had in mind when I wrote this story. The Jack that I saw was jumpier, homely. But Gyllenhaal's sensitivity and subtleness in this role is just huge. The scenes he's in have a kind of quicksilver feel to them. Heath Ledger is just almost really beyond description as far as I'm concerned. He got inside the story more deeply than I did. All that thinking about the character of Ennis that was so hard for me to get, Ledger just was there. He did indeed move inside the skin of the character, not just in the shirt but inside the person. It was remarkable”
原作者这样评价Heath Ledger真没地说了，我想Heath Ledger很幸运碰到李安这样的导演。李安导演很有意思，在拍卧虎唱龙时，每次拍完一个镜头都跟杨紫琼有说有笑，对章子一爱理不理的，章想是不是自己演得不好。这部片也是Gyllenhaal 也说他说戏不多，丢他在那里很尴尬。这些都是李安故意的。
“AP: What did you think of the performances by Heath Ledger and Jake Gyllenhaal?
Proulx: I thought they were magnificent, both of them. Jake Gyllenhaal's Jack Twist...wasn't the Jack Twist that I had in mind when I wrote this story. The Jack that I saw was jumpier, homely. But Gyllenhaal's sensitivity and subtleness in this role is just huge. The scenes he's in have a kind of quicksilver feel to them. Heath Ledger is just almost really beyond description as far as I'm concerned. He got inside the story more deeply than I did. All that thinking about the character of Ennis that was so hard for me to get, Ledger just was there. He did indeed move inside the skin of the character, not just in the shirt but inside the person. It was remarkable”
原作者这样评价Heath Ledger真没地说了，我想Heath Ledger很幸运碰到李安这样的导演。李安导演很有意思，在拍卧虎唱龙时，每次拍完一个镜头都跟杨紫琼有说有笑，对章子一爱理不理的，章想是不是自己演得不好。这部片也是Gyllenhaal 也说他说戏不多，丢他在那里很尴尬。这些都是李安故意的。
