Homosexual Cowboys ( A Christian Film review of Brokeback Mountain)

If he wasn't in heaven, my father, 1930's box-office award-winning, Hollywood cowboy star, Bob "Tex" Allen – and his more recognizable successors, like John Wayne and Gene Autry – would be rolling over in their graves. Except for an occasional movie like "Silverado," "Pale Rider" or "Tombstone," Hollywood keeps trying its best to ruin the spirit of the western. And, they wonder why most of the westerns Hollywood has been making in the last 25 years don't make much money!

"Brokeback Mountain," a modern homosexual cowboy movie that tells the 20-year love affair between two men starting in 1963, is twisted, laughable, frustrating, plotless and often boring. It's also politically correct. Thus, it's sure to reap many awards this year from the leftwing media throughout the world and the leftwing elites in Hollywood, including the so-called "Gay Mafia."

The movie opens in Wyoming in 1963 where two young cowboys, Ennis and Jack, are hired to tend some sheep near Brokeback Mountain. The two men become fast friends. One night, however, their friendship becomes an evening of lust and passion, a scene that plays like a nightmarish homosexual rape set in San Quentin Prison.

For 20 years, the two men carry on a secret affair, despite the fact that they get married to women and have children. One of the wives finds out, but the other one mostly only suspects, until tragedy strikes, and she finds out for certain.

"Brokeback Mountain" is well-acted, although Heath Ledger as Ennis sometimes sounds like Carl from "Sling Blade," the character that Billy Bob Thornton made famous. The problem is that the story is relatively plotless, and the pace is slow and choppy at times. The movie's running time is also much too long. All of this makes for a boring, and sometimes laughable, though well-produced and well-photographed travelogue.

The main conflict in this movie is between the two cowboys. Jack wants them both to get divorced and tend a ranch together, but Ennis is too afraid of the scandal their relationship would cause. Secretly, however, Ennis, is also haunted by the corpse of a murdered, castrated homosexual cowboy his father made him see when Ennis was very young. Of course, one of the two cowboys ends up being murdered, too.

Thus, in the end, the ultimate goal of the filmmakers behind "Brokeback Mountain" is to send a politically correct message about how awful American society is in its treatment of homosexuals. To complement this evil message is a scene where Jack mocks people who go to church and who sing hymns about Jesus Christ.

The movie also presents a very negative stereotype of strong heterosexual fathers. In fact, the homosexual cowboy whose guilt prevents the two perverted lovers from riding off into the sunset together is shown to be an apathetic father. Only the love of one of his daughters is able to free the man from his apathy and indifference toward her. Furthermore, the most admirable homosexual cowboy is shown to be the most affectionate father toward his child.

Of course, adding to this politically correct tone is plenty of strong foul language, explicit sex scenes and explicit nudity. Surprisingly, there also is a strong tone of sadomasochism to the homosexual relationship in the movie. These scenes probably are the most unintentionally laughable scenes in the entire movie. The movie suggests, however, that this is due to the sexual repression that American society allegedly brings against sodomites like the two homosexual cowboys.

As we predicted above, there are sure to be many leftwing awards for this twisted, laughable, frustrating, plotless and boring piece of homosexual, neo-Marxist propaganda. If only the leftists, radical feminists and communists would show the same compassion for the wives of homosexual perverts like these two characters, the world might be a better place. Don't count on that happening any time soon, however.

Dr. Ted Baehr is the founder and publisher of MOVIEGUIDE®, chairman of the Christian Film &Television Commission, and a well-known movie critic, educator, lecturer and media pundit. He also is the author of several books, including "Faith In God And Generals."

I second Jon Dougherty's comment at Worldnetdaily when he said thusly:

It's being touted by "critics" as a "broader story of tragic love," a "remarkable" and "heartbreaking" film, a "cinematic triumph" that is "compelling" and "atmospheric" in its "universal substance," a story that is told with "taste and intelligence."

Whatever. The fact is the only reason Hollywood and its cheerleaders are ga-ga over this film is because it's a "love story" about two homosexual men. No matter what else you read or hear about it, that's the bottom line on the film's storyline, pure and simple.

But look, it doesn't take a crystal ball to know "Brokeback" is little more than an effort by Hollywood culture thieves to celebrate and mainstream a lifestyle (homosexuality) with which most Americans disagree, while flipping the bird to the distinctly heterosexual American West, where men were men, women were women, and neither slept with members of the same gender.

And granted, so far the film has done pretty well in terms of box office (about $550,000 as of this writing). But considering where it has opened thus far – New York, Los Angeles and San Francisco – that's expected (what "gay" film would not do well in San Fran and NYC?).

As to how it's going to do everywhere else is predictable. The Hollywood elite and the purveyors of multiculturalism – none of whom have much knowledge of, or respect for, Mr. and Mrs. America – will talk of the film's "success" and "impact" at their exclusive parties and social functions. But you can bet your rawhide boots and 10-gallon punchbowl "Brokeback" isn't likely to break the bank.

That's because no matter how many cultural icons Hollywood tries to skewer, Main Street isn't ready to accept cowboys who are, er, a little light in the saddle because, well, that just isn't Main Street. In fact, the more Hollywood tries to dismiss and eradicate traditional America, the more America clings to it.

If you doubt that, consider last year's genuine bank-breaking blockbuster, Mel Gibson's "The Passion of the Christ." Hollywood hated the film (actually, they hated the film's premise – that there is a "God" and it's not Steven Spielberg). The major distribution companies wouldn't touch it. The glitterati press panned it. Special-interest groups decried it. Jewish organizations thought it comparable to the Holocaust (a comparison that was completely off the charts).

If you want more proof there is an agenda behind "Brokeback," consider that the advance praise for this film has only been matched by the advance criticism of "Passion." As much as Tinseltown loves "gay" cowboys, they hated Jesus.

With its underlying message that homosexuality is so normal even strapping young cowboys in Wyoming can have a hankerin' for each other, this movie is going to be as popular with most Americans as a hog farm in the summer, despite the best efforts of Hollywood to present it as the greatest performance ever committed to celluloid.

But don't take my word for it. Go ask the first cowboy you see how many boyfriends he has, then make up your mind ... if you're still standing.

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