But The HomoSUXuals Keep On Riding The Queer Horse... 565

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Kudos to Focus Features for distributing this independent (Indie) Film. The studio showed bravery in doing so. Hopefully Hollywood will green-light more gay-themed movies as they are typically to do when a movie is recognized as this movie will no doubt be.

Having said that...

The movie disappointed me on "technical" issues. To those who are not, nor never have been immersed in gay culture, you will not be aware of what is ?wrong? with the movie.

What is wrong is that the filmmakers of Brokeback Mountain got the nuances wrong. The nuances are so wrong the best analogy that I can give you to help you understand what is not right about the film, would be this: Privileged Caucasians making a film about how hard life is on the streets of South-Central Los Angeles or Harlem.

You have to live the story, to be able to accurately tell the story in my opinion.

Another aspect of the film that disappointed me is relationship between Ennis and Jack. I venture to guess that this movie was shot in chronological sequence as the actors portraying Ennis and Jack got the relationship closer to reality in the 2nd half of the movie.

In the first half of the movie, the relationship between the two main characters felt forced and unbelievable. The relationship would have been more believable if it developed over two summers on Brokeback Mountain, instead of one.

The third aspect of the movie that I am disappointed with is the first "love" scene between the two main characters. The scene would not happen in real life and it's disappointing that the depiction only serves to perpetuate the stereotype of gay love.

I give this movie four cool guys out of a possible five

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'Brokeback Mountain': Rape of the Marlboro Man

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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 homoloveual propaganda films of our time.

"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 homoloveual relationships and same-love 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, rest-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 buttociating 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: homoloveual love 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 love.

Too embarrbutted the next morning even to talk about it, Ennis and Jack dismiss their loveual encounter as a "one-shot deal" and part company at the end of the sheepherding job. Ennis marries his fianc�e 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 pbuttionately 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 homoloveual 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 homoloveuality by taking him to see the brutalized, castrated, dead body of a rancher who had lived together with another man � until liquidateous, 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 homoloveual 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-rest realities concerning love and morality and the sancbreasty 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 mbuttive 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 homoloveual 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, send 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 feel 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 plantarded 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 loveual 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 homoloveual, 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 rest � 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 love, 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 injection 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 loveual 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 � 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 homoloveual love 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 atbreastudes 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 buttociations 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 homoloveuality with powerful feelings of sympathy, guilt over past "homophobia" � and ultimately the complete and utter acceptance of homoloveuality as equivalent in every way to heteroloveuality.

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.

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'Brokeback Mountain' Anti-Family -- Glorifies Homoloveuality, Adultery, Deadly love and Deception

To: National Desk

Contact: Amanda Sova, Media Relations for Straight Talk Radio, 203-926-68 plus 160

HUNTINGTON, Conn. Dec. 14Christian Wire Service-- "Don't be fooled by Brokeback Mountain's seven Golden Globe nominations. What a sad day in America when a movie that glorifies homoloveuality, adultery, dangerous and deadly unprotected anal love and deception is up for Best Picture of the Year. This anti-family movie sends a very harmful, insidious message to its viewers, cloaked in awards nominations," said Stephen Bennett, host of Straight Talk Radio.

Straight Talk Radio is the very first daily national radio program focusing strictly on the issue of homoloveuality and the homoloveual agenda from a pro-family perspective, featuring a former homoloveual man and his wife as the hosts.

"Brokeback Mountain's nomination for Best Picture of the Year depicts a tragic picture of the all time moral low our culture has sunk to. When a movie based on a short story, containing graphic, explicit, dangerous homoloveual anal love by two men is elevated to Best Picture of the Year, America better wake up. With HIV and AIDS on the rise, and homoloveual men dropping dead because of this dangerous, potentially deadly behavior, you better believe, I'll be sounding the alarm on this movie. I've buried too many friends who died from AIDS to keep quiet on this one," said Bennett.

According to viewers who saw the movie, they say Ang Lee remained faithful to the homoloveual anal love written in Proulx's short story based on this paragraph (warning: graphic language):

"'. . . quit hammerin and get over here. Bedroll's big enough,' said Jack in an irritable sleep-clogged voice. It was big enough, warm enough, and in a little while they deepened their intimacy considerably. Ennis ran full throttle on all roads whether fence mending or money spending, and he wanted none of it when Jack seized his left hand and brought it to his erect c**k. Ennis jerked his hand away as though he'd touched fire, got to his knees, unbuckled his belt, shoved his pants down, hauled Jack onto all fours, and, with the help of the clear slick and a little spit, entered him, nothing he'd done before but no instruction manual needed. They went at it in silence except for a few sharp intakes of breath and Jack's choked 'Gun's goin off,' then out, down, and asleep."

Annie Proulx's entire short story Brokeback Mountain can be read at:

Stephen ended, "I'm just disgusted that the Hollywood elite would stoop to such an all-time low. I pray Americans don't fall for this homoloveual propaganda. I'm going to do all I can to tell Americans to 'Beware of Brokeback Mountain.' Thank Annie Proulx and Ang Lee for bringing America to the next moral, all-time low."

Monday's national broadcast was devoted to discussing the movie Brokeback Mountain. The show is streamed in the Archives section

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Stephen Bennett is available for commentary from a pro-family perspective on Brokeback Mountain.

Stephen and his wife Irene host the daily half-hour radio program "Straight Talk Radio."

Stephen is the Special Issues Editor on the Homoloveual Agenda for The American Family buttociation and has written commentaries for WorldNetDaily.com.

Stephen Bennett is authoring his first book, "I WAS Gay" to be released in late 2006 by a national publisher. Irene has her first series of children's books being published dealing with "gender affirmation," the first children's series of its kind.

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Male homoloveuals are the number one vector of AIDS in the United States and have been since they started the AIDS epidemic began in the early 1980s. Whether their love acts are in private or public they haven't the right to knowingly and willfully spread a deadly disease in our society as they have been, are now and doubtless, will continue to do until some legal action on the federal level is taken against their dangerous behavior.

FACTS:

Cumulative Effect of HIV Infection and AIDS (through 2003)

An estimated 503,305 men who have love with men (MSM), 440,887 MSM and 62,418 MSM who inject drugs, had received a diagnosis of AIDS, accounting for 67% of all men and 54% of all people who received a diagnosis of AIDS in the US 1

An estimated 295,981 MSM (257,898 MSM and 38,083 MSM who inject drugs) with AIDS had died, accounting for 68% of all men and 56% of all people with AIDS who died in the US 1.

At the end of 2003, an estimated 207,323 MSM (182,989 MSM and 24,334 MSM who inject drugs) were living with AIDS, representing 66% of all men and 51% of all people living with AIDS in the US 1.

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