For the commenter who wrote on my blog, “I don’t see (as a gay, formerly married, father) where [‘Brokeback’] merits culturally significant status,” I direct you to today’s New York Times and a story titled “Many Couples Must Negotiate Terms of ‘Brokeback’ Marriages.” Who knows if it’s going to stick, but when a movie’s title becomes part of the everyday vernacular of a culture, I’d say it’s pretty significant. Aside from the late-night jokes, this phrase “brokeback marriage” seems to be circulating in the blogosphere with what I expect to be increasing regularity. (Google only had 105 entries, but just you wait.)
As for “Crash,” well, I’d say this movie was more of an insular phenomenon and its 8th-grade level of TV sophistication will be forgotten soon enough, like most television shows after the commercial break. When Lionsgate re-releases the movie on Friday in about 150 screens in the U.S., according to Variety, hundreds of people can see how unworthy and hamfisted the movie is (best editing? give me a break), and how much of its Oscar victory comes from its company-town background. As one Hollywood player noted in David Carr’s NY Times Oscar roundup “Los Angeles Retains Custody of Oscar,” “”Crash’ was far more representative of the our industry, of where we work and live.” Especially if you’re in the movie industry, as many are, where nothing is remotely close to reality.