RED does not mean "stop." GREEN does not mean "go." Click on the CAPCon Alert image for explanation
A ministry of the ChildCare Action Project:
Christian Analysis of American Culture (CAP Ministry)
A 501(c)(3) Nonprofit Christian Ministry. www.capalert.com/
Entertainment Media Analysis Report
A service to His little ones through you in His name by His Word
with GUEST COMMENTARY
The #1 Christian entertainment media analysis service on the Internet. We give you OBJECTIVE tools NO ONE ELSE CAN to help YOU make an informed decision for yourself whether a film is fit for your family. Over 1000 analyses for parents, grandparents, pastors, youth leaders and more.
Click it to try it!
(a PayPal account is NOT required)
OR (preferred) by Check or Money Order.
The CAP is a 501(c)(3) nonprofit Christian ministry (75-2607488). Donations to us are TAX-DEDUCTIBLE
on what Hollywood feeds your kids. SUBSCRIBE
to our FREE text-only email version of these reports and our COMING SOON notices.
Christian Long Distance
(This section may be and sometimes is somewhat subjective.)
Cast/Crew Details Courtesy Internet Movie Database
Production (US): Alberta Film Entertainment, Focus Features, Good Machine, Paramount Pictures, River Road Entertainment, This Is That Productions
Distribution (US): Focus Features (2005, theatrical), Universal Home Entertainment (2006, DVD)
Director(s): Ang Lee
Producer(s): Michael Costigan, Scott Ferguson, Michael Hausman, Larry McMurtry, Diana Ossana, William Pohlad, James Schamus, Tom Cox (Alberta Film Entertainment), Murray Ord (Alberta Film Entertainment, Jordy Randall
Written by: E. Annie Proulx (short story)
Screenplay: Larry McMurtry, Diana Ossana
Cinematography/Camera: Rodrigo Prieto
Music: Craig Eastman, Rick Garcia, Merle Haggard, Gustavo Santaolalla, Nikolai Rimsky-Korsakov
Film Editing: Geraldine Peroni, Dylan Tichenor
Casting: Deb Green, Avy Kaufman
Production Design: Judy Becker
Art Direction: Laura Ballinger
Viewed on: Universal Studios Home Entertainment DVD
ADDENDUM: In 2005 I was not able to afford to attend a screening of Brokeback Mountain. Since then it has been released on video. I completed analysis of it for the sole purpose of fortifying the eloquent review prepared by Mr. Dave Kupelian of World Net Daily provided below.
NOTE: In this addendum I use "practitioner of homosexuality", "practicing homosexuality" and "the practice of homosexuality" instead of "gay" for three reasons. One, "gay" is one of man's labels. The one who chooses to practice homosexuality deserves more respect than a label since s/he is as precious to Jesus as s/he who does not. Jesus hates some of our chosen behaviors, not us. Two, having same-sex sexual attraction (SSA), if it exists, does not make one "gay." Acting on SSA does. Three, performing homosexual behavior is not a biological condition or innate property, it is a choice. Indeed, every single non-autonomic movement of the human body is a choice. No exceptions. No debate. These facts make the practice of homosexuality a matter of personal accountability.
Brokeback Mountain has got to be one of the most sly and cunning anti-Christian films ever produced. It violated God's Word not by belittling or vilifying God's Word or faith in him but rather by encouraging empathy for the practice of behaviors that slap the very face of God [Is. 5:20, Col. 2:4, Col. 2:8]. It speaks not to hatred of God or His Word to proselytize viewers against Him but speaks of love for that which is against Him and His Word, much like the seductress (or seducer) [Prov. 5:3, Prov. 30:20, Prov. 7:21, Rom. 16:18]. It is filled with much smooth talk and fine-sounding arguments to excuse the practice of homosexuality, the continuation of a homosexual relationship and the horrors the practice of homosexuality creates for others. There might not be a better description of this film than "seductress" which might lead many to sin [Rom. 5:19]
Brokeback Mountain is truly a magnificent production with beautiful scenery and outstanding talents. All these features combine most effectively to make a pretty picture of evil, intricately weaving smooth talk and heartstring tugging portrayals to change God's Word into a lie. [Rom. 1:24 - 25]
Not once is there a mention of any of the dangers associated with the practice of homosexuality: the typically shortened lifespan; the plethora of diseases not typical of a monogamous heterosexual marriage; the hundreds of partners typically encountered in a homosexual practitioner's shortened lifetime; the violence typically reported in most homosexual relationships; the tendency to practice pedophilia (ref: the North American Man-boy Love Association and a 24-year study by Dr. Judith Reisman); many others, not even the violation of such practice against God's Word [e.g., 1 Cor. 6:9-10]. And they in the film who are opposed to the practice of homosexuality are portrayed as small minded, intolerant, selfish and as redneck murderers.
A pretty picture of evil, indeed. A perfect example of God's prophecy in Psalm 12:8. And this film earned several awards. Another sign of the times. [2 Tim. 3:1 - 5]
It is an honor to provide for you through this ministry the following exposé of Brokeback Mountain prepared by Mr. David Kupelian of World Net Daily.
Rape of the Marlboro Man
Posted: December 27, 2005
1:00 a.m. Eastern
Editor's note: Recently, WND Managing Editor David Kupelian, author of the best-selling book, "The Marketing of Evil," was widely quoted in the news media for his criticism of the new film "Brokeback Mountain." Here, Kupelian explains how and why the controversial movie is one of the most powerful homosexual propaganda films of our time.
© 2005 WorldNetDaily.com
"Brokeback Mountain," the controversial "gay cowboy" film that has garnered seven Golden Globe nominations and breathless media reviews and has now emerged as a front-runner for the Oscars is a brilliant propaganda film, reportedly causing viewers to change the way they feel about homosexual relationships and same-sex marriage.
And how do the movie-makers pull off such a dazzling feat? Simple. They do it by raping the "Marlboro Man," that revered American symbol of rugged individualism and masculinity.
We all know the Marlboro Man. In "The Marketing of Evil," I show how the Philip Morris Company made marketing history by taking one of the most positive American images of all time the cowboy and attaching it to a negative, death-oriented product cigarettes.
Hit the pause button for a moment so this idea can completely sink in: Cigarette marketers cleverly attached, in the public's mind, two utterly unrelated things: 1) the American cowboy, with all of the powerful feelings that image evokes in us, of independence, self-confidence, wide-open spaces and authentic Americanism, and 2) cigarettes, a stinky, health-destroying waste of money. This legendary advertising campaign targeting men succeeded in transforming market underdog Marlboro (up until then, sold as a women's cigarette with the slogan "Mild as May") into the world's best-selling cigarette.
It was all part of the modern marketing revolution, which meant that, instead of touting a product's actual benefits, marketers instead would psychologically manipulate the public by associating their product with the fulfillment of people's deepest, unconscious needs and desires. (Want to sell liquor? Put a seductive woman in the ad.) Obviously, the marketers could never actually deliver on that promise but emotional manipulation sure is an effective way to sell a lot of products.
The "Marlboro Man" campaign launched 50 years ago. Today, the powerful cowboy image is being used to sell us on another self-destructive product: homosexual sex and "gay" marriage.
'People's minds have been changed'
In "Brokeback Mountain," a film adaptation of the 1997 New Yorker short story by Annie Proulx, two 19-year-old ranchers named Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) have been hired to guard sheep on a rugged mountain in 1963 Wyoming. One night, the bitter cold drives Ennis into Jack's tent so they can keep each other warm. As they lie there, suddenly and almost without warning, these two young men both of whom later insist they're not "queer" jump out of the sack and awkwardly and violently engage in anal sex.
Too embarrassed the next morning even to talk about it, Ennis and Jack dismiss their sexual encounter as a "one-shot deal" and part company at the end of the sheepherding job. Ennis marries his fiancÈe Alma (Michelle Williams, Ledger's real-life girlfriend) while Jack marries female rodeo rider and prom queen Lureen (Anne Hathaway). Each family has children.
Four years later, Jack sends Ennis a postcard saying he's coming to town for a visit. When the moment finally arrives, Ennis, barely able to contain his anticipation, rushes outside to meet Jack and the two men passionately embrace and kiss. Ennis's wife sadly witnesses everything through the screen door. (Since this is one of the film's sadder moments, I wasn't quite sure why the audience in the Portland, Oregon, theater burst out in laughter at Alma's heartbreaking realization.)
From that point on, over the next two decades Ennis and Jack take off together on periodic "fishing trips" at Brokeback Mountain, where no fishing actually takes place. During these adulterous homosexual affairs, Jack suggests they buy a ranch where the two can live happily ever after, presumably abandoning their wives and children. Ennis, however, is afraid, haunted by a traumatic childhood memory: It seems his father had tried to inoculate him against homosexuality by taking him to see the brutalized, castrated, dead body of a rancher who had lived together with another man until murderous, bigoted neighbors committed the gruesome hate crime.
Eventually, life with Ennis becomes intolerable and Alma divorces him, while Lureen, absorbed with the family business, only suspects Jack's secret as they drift further and further apart. When, toward the end of the story, Jack dies in a freak accident (his wife tells Ennis a tire blew up while Jack was changing it, propelling the hubcap into his face and killing him), Ennis wonders whether Jack actually met the same brutal fate as the castrated "gay" cowboy of his youth.
Ultimately, Ennis ends up alone, with nothing, living in a small, secluded trailer, having lost both his family and his homosexual partner. He's comforted only by his most precious possession Jack's shirt which he pitifully embraces, almost in a slow dance, his aching loneliness masterfully projected into the audience via the film's artistry.
Yes, the talents of Hollywood's finest are brought together in a successful attempt at making us experience Ennis's suffering, supposedly inflicted by a homophobic society. Heath Ledger's performance is brilliant and devastating. We do indeed leave the theater feeling Ennis's pain. Mission accomplished.
Lost in all of this, however, are towering, life-and-death realities concerning sex and morality and the sanctity of marriage and the preciousness of children and the direction of our civilization itself. So please, you moviemakers, how about easing off that tight camera shot of Ennis's suffering and doing a slow pan over the massive wreckage all around him? What about the years of silent anguish and loneliness Alma stoically endures for the sake of keeping her family together, or the terrible betrayal, suffering and tears of the children, bereft of a father? None of this merits more than a brief acknowledgment in "Brokeback Mountain."
What is important to the moviemakers, rather, is that the viewer be made to feel, and feel, and feel again as deeply as possible the exquisitely painful loneliness and heartache of the homosexual cowboys denied their truest happiness because of an ignorant and homophobic society.
Thus are the Judeo-Christian moral values that formed the very foundation and substance of Western culture for the past three millennia all swept away on a delicious tide of manufactured emotion. And believe me, skilled directors and actors can manufacture emotion by the truckload. It's what they do for a living.
Co-star Jake Gyllenhaal realized the movie's power to transform audiences in Toronto, where, according to Entertainment magazine, "he was approached by festival-goers proclaiming that their preconceptions had been shattered by the film's insistence on humanizing gay love."
"Brokeback Mountain," said Gyllenhaal, "is that pure place you take someone that's free of judgment. These guys were scared. What they feared was not each other but what was outside of each other. What was so sad was that it didn't have to happen like that." But then, said the article, Gyllenhaal jumped to his feet and exclaimed triumphantly: "I mean, people's minds have been changed. That's amazing."
Changed indeed. And that's the goal. Film is, by its very nature, highly propagandistic. That is, when you read a book, if you detect you're being lied to or manipulated, you can always stop reading, close the book momentarily and say, "Wait just a minute, there's something wrong here!" You can't do that in a film: You're bombarded with sound and images, all expertly crafted to give you selected information and to stimulate certain feelings, and you can't stop the barrage, not in a theater anyway. The visuals and sound and music and along with them, the underlying agenda of the filmmakers pursue you relentlessly, overwhelming your emotions and senses.
And when you leave the theater, unless you're really objective to what you've experienced, you've been changed even if just a little bit.
Want to know how easily your feelings can be manipulated? Let's take the smallest, most seemingly insignificant example and see. Sit down at a piano and play a song, any song even "Mary Had a Little Lamb" as long as it's in a major key. Then, play the same song, but change from a major to a minor key; just lower the third step of the scale by a half-step so the melody and harmony become minor. If you watch carefully, you'll note this one tiny change makes the minor-key version sound a bit melancholy and sad, while the normal, major-key version sounds bright and happy. (As the expression goes, "Major glad, minor sad.")
Now take this principle and apply it to a feature film by expanding it a million-fold. A movie's musical score has one overriding function to make the viewer feel a certain way at strategic points during the story. And music is just one of dozens of factors and techniques used to influence audiences in the deepest way possible. Everything from the script to the directing to the camera work to the acting, which in "Brokeback Mountain" is brilliant, serve the purpose of making the movie-makers' vision seem like reality even if it's twisted and perverse.
Do we understand that Hollywood could easily produce a similar movie to "Brokeback Mountain," only this time glorifying an incest relationship, or even an adult-child sexual relationship? Like "Brokeback," it too would serve to desensitize us to the immoral and destructive reality of what we're seeing, while fervently coaxing us into embracing that which we once rightly shunned.
All the filmmakers would need to do is skillfully make viewers experience the actors' powerful emotions of loneliness and emptiness juxtaposed with feelings of joy and fulfillment when the two "lovers" are together to bring us to a new level of "understanding" for any forbidden "love." Alongside this, of course, they would necessarily portray those opposed to this unorthodox "love" as Nazis or thugs. Thus, many of us would let go of our "old-fashioned" biblical ideas of morality in light of what seems like the more imminent and undeniable reality of human love in all its diverse forms.
A "Brokeback"-type movie could easily be made, for instance, to portray a female school teacher's affair with a 14-year-old student as "a magnificent love story." And I'm not talking about the 2000 made-for-TV potboiler, "All-American Girl: The Mary Kay Letourneau Story," about the Seattle school teacher who seduced a sixth-grade student, went to prison for statutory rape, and later married the boy having had two children by him. I'm talking about a big-budget, big-name Hollywood masterpiece aimed at transforming America through film, just as Hitler relied on master filmmaker Leni Riefenstahl to make propaganda films to manipulate the emotions of an entire nation.
In place of "Brokeback Mountain's" scene with the castrated homosexual, the "adult-child love story" could have a similar scene in which, as a young girl, the future teacher's mother took her to see the body of a woman who had fallen in consensual "love" with a 14-year-old boy, only to be brutalized, her breasts cut off, and bludgeoned to death all by Nazi-like bigoted neighbors. (So that's why she couldn't be honest and open about her later relationship with her student.)
Inevitably, such a film would make us doubt our former condemnation of adult-child sex, or at least reduce our outrage as we gained more "understanding" and sympathy for the participants. It would cause us to ask the same question one reviewer asked after seeing "Brokeback Mountain": "In an age when the fight over gay marriage still rages, 'Brokeback Mountain,' the tale of two men who are scarcely even allowed to imagine being together, asks, through the very purity with which it touches us: When it comes to love, what sort of world do we really want?"
OK, I'll bite. Let's talk about love. The critics call "Brokeback Mountain" a "pure" and "magnificent" love story. Do we really want to call such an obsession especially one that destroys marriages and is based on constant lies, deceit and neglect of one's children "love"?
What if I were a heroin addict and told you I loved my drug dealer? What if I told you he always makes me feel good, and that I have a hard time living without him, and that I think about him all the time with warm feelings of anticipation and inner completion? And that whenever we get together, it's the only time I feel truly happy and at peace with myself?
Oh, you don't approve of my "love"? You dare to criticize it, telling me my relationship with my drug dealer is not real love, but just an unhealthy addiction? What if I respond to you by saying, "Oh shut up, you hater. How dare you impose your sick, narrow-minded, oppressive values on me? Who are you, you pinch-faced, moralistic hypocrite, to define for me what real love is?"
Don't laugh. I guarantee Hollywood could make a movie about a man and his drug dealer, or an adult-child sexual relationship, that would pull on our emotions and create some level of sympathy for the characters. Furthermore, in at least some cases, it would make us doubt our conscience a gift directly from God, the perception of right and wrong that he puts in each one of us our inner knowing that this was a totally unhealthy and self-destructive relationship.
Ultimately, propaganda works because it washes over us, overwhelming our senses, confusing us, upsetting or emotionalizing us, and thereby making us doubt what we once knew. Listen to what actor Jake Gyllenhaal, who plays Jack, told the reporter for Entertainment magazine about doing the "love" scenes with Heath Ledger:
"I was super uncomfortable Ö [but] what made me most courageous was that I realized I had to try to let go of that stereotype I had in my mind, that bit of homophobia, and try for a second to be vulnerable and sensitive. It was f---in' hard, man. I succeeded only for milliseconds."
Gyllenhaal thinks he was "super uncomfortable" while being filmed having simulated homosexual sex because of his own "homophobia." Could it be, rather, that his conflict resulted from putting himself in a position, having agreed to do the film, where he was required to violate his own conscience? As so often happens, he was tricked into pushing past invisible internal barriers crossing a line he wasn't meant to cross. It's called seduction.
This is how the "marketers of evil" work on all of us. They transform our attitudes by making us feel as though our "super uncomfortable" feelings toward embracing unnatural or corrupt behavior of whatever sort a discomfort literally put into us by a loving God, for our protection somehow represent ignorance or bigotry or weakness.
I wrote "The Marketing of Evil" to expose these people, and especially to reveal the hidden techniques they've been using for decades to confuse us, to manipulate our feelings and get us to doubt and turn our backs on the truth we once knew and loved. Indeed, whether they're outright lying to us, or ridiculing us for our traditional beliefs, or trying to make us feel guilty over some supposed bigotry on our part, the "marketers of evil" can prevail simply by intimidating or emotionally stirring us up in one way or another. Once that happens, we can easily become confused and lose the inborn understanding God gave us. We all need that inner understanding or common sense, because it's our primary protection from all the evil influences in this world.
As I said at the outset, Hollywood has now raped the Marlboro Man. It has taken a revered symbol of America the cowboy with all the powerful emotions and associations that are rooted deep down in the pioneering American soul, and grafted onto it a self-destructive lifestyle it wants to force down Americans' throats. The result is a brazen propaganda vehicle designed to replace the reservations most Americans still have toward homosexuality with powerful feelings of sympathy, guilt over past "homophobia" and ultimately the complete and utter acceptance of homosexuality as equivalent in every way to heterosexuality.
If and when that day comes, America will have totally abandoned its core biblical principles as well as the Author of those principles. The radical secularists will have gotten their wish, and this nation like the traditional cowboy characters corrupted in "Brokeback Mountain" will have stumbled down a sad, self-destructive and ultimately disastrous road.
The CAP Ministry is not receiving any monies or any other form of compensation for repriinting Mr. Kupelian's article exposing the truth about Brkeback Mountain.
I wonder whether the ac tors/actresses, the filmmakers, the awards nominators, etc. knew they were fulfilling God's warnings [Col. 2:4, Rom. 16:18, 2 Tim. 3:1-5, 1 Cor. 6:9-10, Ps. 12:8, Jude 1:7, Jude 1:4]?
If needed to focus or fortify, applicable text is underlined or bracketed [ ] or bold. If you wish to have full context available, the Blue Letter Bible is a convenient source. If you use the Blue Letter Bible, a new window will open. Close it to return here or use "Window" in your browser's menu bar to alternate between the CAP page and the Blue Letter Bible page.
***Selected Scriptures of Armour against the influence of the entertainment industry***
As always, it is best to refer to the Findings/Scoring section -- the heart of the CAP analysis model -- for the most complete assessment possible of this movie.
(The objective heart of the CAP Analysis Model, independent of and insulated from the Summary/
Wanton Violence/Crime (W)
Sexual Immorality (S)
Offense to God (O)
Christian Educators Association International
|There are some in the entertainment industry who maintain that 1) violent programming is harmless because no studies exist that prove a connection between violent entertainment and aggressive behavior in children, and 2) young people know that television, movies, and video games are simply fantasy. Unfortunately, they are wrong on both accounts." And "Viewing violence may lead to real life violence." I applaud these associations for fortifying 1 Cor. 15:33. Read the rest of the story. From our more than eight years of study, I contend that other aberrant behaviors, attitudes, and expressions can be inserted in place of "violence" in that statement. Our Director - Child Psychology Support, a licensed psychologist and certified school psychologist concurs. For example, "Viewing arrogance against fair authority may lead to your kids defying you in real life." Or "Viewing sex may lead to sex in real life." Likewise and especially with impudence, hate and foul language. I further contend that any positive behavior can be inserted in place of "violence" with the same chance or likelihood of being a behavior template for the observer; of being incorporated into the behavior mechanics and/or coping skills of the observer. In choosing your entertainment, please consider carefully the "rest of the story" and our findings.|
|In the name of Jesus: |
Lord, Master, Teacher, Savior, God.
ChildCare Action Project (CAP): Christian Analysis of American Culture
100% dependent on your tax-deductible financial support
Christian Long Distance
We exist only by your tax-deductible donations. PLEASE
Features PayPal! You do NOT need an account to donate.