Brokeback Mountain is the ideal project for Ang Lee, a director who has probed the sore spots of repressed people throughout his career: the gay-themed The Wedding Banquet (1993), Eat Drink Man Woman (1994), Sense and Sensibility (1995), The Ice Storm (1997), Crouching Tiger, Hidden Dragon (2000), even Hulk (2003).
Director Ang Lee ("Crouching Tiger, Hidden Dragon," "Hulk") once again impresses with his seeming command of such disparate material as his early trilogy exploring the relationships between fathers and their children ("Pushing Hands," "The Wedding Banquet," which also featured a gay protagonist albeit in a romantic comedy, and "Eat Drink Man Woman"), Jane Austen ("Sense and Sensibility"), American suburban angst in the 70s ("The Ice Storm"), Chinese martial arts and comic book super heroes.
Whether it was 1993's "The Wedding Banquet," in which a gay New Yorker fakes a marriage to cover up his homosexuality; "The Ice Storm," in which a wealthy Connecticut family slowly implodes; or "Crouching Tiger, Hidden Dragon," in which a kung fu master approaches retirement while quietly contemplating revenge - Ang Lee frames his films around his characters first and foremost.
But director Ang Lee -- who knows his way around gay love ("The Wedding Banquet"), confining social strictures and rituals ("Eat, Drink, Man, Woman," "Sense and Sensibility") and the wages of repression ("The Hulk") -- treats the source material with such deference that it's as if the entire movie were made in New Yorker typescript.
Director Lee, making a comeback from his "Hulk" fiasco and returning to his first gay-themed story since "The Wedding Banquet," gives the script all the skill, sensitivity and shrewd originality that made him the art-house phenomenon of the '90s.