Pokeback Mount'in: Hymn to Dysfunction
January 21, 2006
By Henry Makow Ph.D.
I enjoyed Pokeback Mount'in.
Director Ang Lee's tale of "forbidden love on the range" evokes the honest feelings and tensions of rural life in the 1960's and 70's. The panoramas of the Canadian Rockies and abstract images of the sheep herd were soothing to watch. The film reminds us that cinematic art could nourish the human spirit instead of poison it.
Unfortunately, under its artistic veneer, Pokeback Mount'in advances the Illuminati plan to destroy the nuclear family (also a plank in their Communist Manifesto.)
The movie preaches that homosexuality is normal and natural. In fact, in most cases, homosexuality is a developmental disorder that the Illuminati wishes to foster in order to destabilize and depopulate society. Throughout history, the enemies of society have used "art," "tolerance," "progress," "cool" and "chic" to trick people into behaving self-destructively.
Effective propaganda mixes Truth with Deception. Pokeback Mount'in acknowledges that male homosexual love often has tragic consequences. At the end, Ennis Del Mar is a pathetic figure living alone in a dilapidated trailer. He treasures items of clothing that once belonged to his lover Jack Twist, who died in a suspicious accident.
The Deception lies in the movie's implication that it is normal and natural for men to indulge in homosexual behavior. To begin, these men do not look or act gay and as cowboys they engage in masculine activities. "I ain't queer," one says. "Me neither," the other replies.
Then they jump into the sack together.
In reality, men and women naturally find homosexual sex repugnant, a fact the movie tacitly recognizes by mercifully portraying little of it. (The movie image of homosexuality is sanitized and made to seem comparable to heterosexuality. In fact, a monogamous long-term relationship like this one is exceptional.)
These two cowboys aren't typical homosexuals and they certainly are not normal heterosexuals.
If you listen closely, you'll hear them both mention they were alienated from their biological fathers at a young age. Ennis' parents died in a car accident while Jack's father shunned him. Homosexual males typically are trying to compensate for this loss. Another cause is sexual abuse in youth. A small minority may have been "born that way" because of a testosterone imbalance during gestation.
Although Ennis had an attractive and loving fiancee, Alma, we are expected to believe his first emotional embrace was from Jack. The plot's main weakness is its failure to communicate what they have found in each other. Is it just sexual?
FAMILY BETRAYAL
There is an amazing scene when Alma accidentally witnesses her husband Ennis passionately kissing Jack. She has two daughters and this is her first realization her husband is gay. You can see from her expression that her life is crashing down around her. After tolerating this long-distance romance for a few years, she finally gets a divorce.
Jack's marriage to Lureen is also a sham, also headed for divorce. If the Illuminati (and their feminist go'fers) have their way, fathers will be removed from families altogether and homosexuality will explode. The ultimate aim is to replace the nuclear family with state-sponsored childbirth as in Aldous Huxley's Brave New World.
I apologize for repeating myself but some things need to be reiterated. We are soaked in a toxic media bath that trashes the family and considers homosexuality cool. Heterosexuality is much more than opposite-sex attraction. It is about monogamy (marriage) reproduction and child-rearing. This is how most of us develop and fulfill ourselves. Obviously, this natural process is also essential for society's health.
Our culture militates against healthy marriage and families. Men no longer learn that the true standard of manhood is supporting and raising a family. Women waste their most fertile years at university learning to fear and compete with men. The media encourages them to be sluts, and experiment with lesbianism.
Homosexuality is a developmental disorder resulting in failure to permanently bond with a member of the opposite sex. This has become a common social affliction as divorce rates soar and marriage and birth rates plummet. Generally speaking (but not always) homosexuality is characterized by a belief in sex for its own sake and a fixation on sex appeal as the main criterion of personal worth. Haven't we all succumbed in this respect?
Our attitude to children is also homosexual. Children are viewed as a nuisance rather than as an extension of ourselves, organic growth, and a source of infinite love and joy.
Cheating is cheating, even when it's same-sex. In the movie, the two men betray their wives and children in the most egregious fashion. Yet the movie ends on a nostalgia note recalling the glory days having sex on Brokeback Mountain. In our Illuminist-controlled culture, self-indulgence will always trump personal and social responsibility.
The human race is a dysfunctional family too. Our leaders are betraying us in the most egregious fashion. They have literally sold out to the Illuminati, a Luciferian cult that promotes pedophilia, human sacrifice, and every form of degradation, corruption and organized crime. They stage wars and atrocities, incl. the Sept. 11 massacre, for profit and power. They secretly plot a world police state called "the New World Order."
FINALLY
Is it "intolerant" to refer to this movie as Pokeback Mount'in ?
In the Illuminati-controlled USSR, all cinema was "agitprop" or indoctrination. This applies to us as well. Pokeback Mount'in is being made into a social phenomenon with the potential to influence millions. It had the top box office, won the Golden Globe for Best Picture and is likely to win many Oscars.
One of the Illuminati's techniques is to misname things. Thus "masculinism" is called "feminism," "tyranny" is called "peace." A War of Terror is called a War on Terror. Similarly, we must rename their propaganda to remove its effectiveness.
We have no argument with homosexuals who behave responsibly. Our argument is with the Luciferian (i.e. Rockefeller Foundation) social engineers who peddle homosexuality as a weapon to shred the social fabric and enslave us. We are not going to be fooled by their smears and hypocritical appeals to "tolerance". We will defend ourselves.
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A Southern Baptist's View by Jeff Adams
See also my Playboy and the (Homo) Sexual Revolution
Why I'm Proud to be Homophobic https://www.savethemales.ca/021101.html
Heterosexual Society is Under Siege https://www.savethemales.ca/000168.html
Gradual Genocide: Fertility Feminism and Fascism https://www.savethemales.ca/070502.html
An Ex Gay said (January 31, 2006):
In advance, I had concluded that the movie would advance some important moral claims about homosexual freedom, and that those pretensions would dovetail with conventional views of moral equivalency between lifestyles. I wanted to see if it was honest or not. As it turned out, the answers were "yes" and "no."
Where did it faithfully represent reality? I think in these respects:
1. It makes sense that two horny young men out in the wilderness with a lot of time on their hands might fall into sexual exploration.
2. As it followed the lives of the characters, it rang true that they would for the most part return to regular, heterosexual relationships. Most studies of same-sex behaviour confirm that a lot of people who dabble in the gay lifestyle--for whatever reason, a temporary thrill or curiousity--do that for a very brief time and never consider it again.
3. It honestly depicted the norm of tom-cat gay behaviour in the further adventures of the Jack Twist character, who sought and was sought out for further homosexual trysts with other people.
Where did it stray from the truth? I think in these ways:
1. The pattern of these two cowboys returning for regular visits because they are in "love," as the script clearly implies, is completely unknown to me in my own experience of gay behaviour and the gay culture. I think the film-makers wanted to convey homosexuality as "normal," and by implying that these chaps would engage in this sort of romantic longing for each other, just like any other lovers separated by fate, they would capture that value. That essentially turns the movie into propaganda.
I found myself comparing it, for example, to "My Private Idaho," where the lead characters did have a strong emotional bond, but one that only applied to the short space of time where their lives were interconnected. Afterwards, one died and the other went on his merry way. The idea that gay lovers somehow extend their longing over a period of years is, I suppose, possible. But I've never heard of it or seen it.
2. The character of Ennis's wife also rings false. It is highly implausible that a woman would see her husband making a pass at another man and not kick up a fuss about it, right there and then. Since both he and his wife were from a conventional, religious background, in the real world this would immediately have prompted a harsh, negative reaction. I've seen wives suffer in silence based on rumours and speculation about their mates, but never a case where they witnessed the infidelity and then stayed silent about it for years.
3. The anguish of the Ennis character, and his guilt about his relationship with Twist, is presented in a confused manner. The movie leads you to believe that he is suffering because he couldn't find it in himself to face up to his identity. But it also implied what is more likely to be real, that it was the social taboos about homosexuality that were causing his moral dilemma. Could both be true? I suppose, but it rings truer to me that he is feeling guilty because he committed those acts, not because he misses his paramour.
So, in terms of the moral honesty of the film, I conclude that it has some, but not nearly enough. A more honest rendition of the psychological dynamics of homosexuals can be found in the TV series "Queer as Folk," which portrays the lifestyle warts and all, and doesn't pretend to symbolize such pretensions as star-crossed lovers as part of the plot. It's "wham, bam, thank you, (not) ma'am." That's what mostly goes on in the real world.
The fundamental problem with "Brokeback Mountain" is that it uses a heterosexual template to describe a long-term relationship that is not only the exception in the gay culture, but almost unheard of. It also takes as its underlying theme that homosexual identity is locked in, which I know from personal experience to be false. I found out the hard way that, like all other human behaviours, homosexuality is a chosen pursuit, not a Twist of fate.