Originally an Annie Proulx short story published in ‘The New Yorker' in 1997 the screen version of Brokeback Mountain has been the subject of general interest but little commitment since being adapted by Larry McMurtry and Diana Ossana. Both Joel Schumacher and Gus Van Sant were at points linked with the project before Ang Lee, at the second time of asking, committed. As he pointed out: “It was about 3 or 4 years ago, I read the short story and then the script. It was one of the great scripts floating around. James (producer James Schamus) mentioned there was something quite special, and I should take a look. I read the short story and got choked up... to me it's a true great American love story.”

This ‘great American love story' is somewhat simplistically being billed as ‘the gay cowboy film', but has been universally greeted with critical praise, garnering 7 Golden Globe nominations to add to its Golden Lion from last years Venice Film Festival (Academy Awards will surely follow), proving this is much more than an ‘issue' film.

Ennis Del Mar (Ledger) a ranch hand, and rodeo cowboy Jack Twist (Gyllenhaal) meet in the summer of 1963 when they are taken on by local rancher Joe Aguirre (Quaid) to tend to a cattle herd in the expanse of Wyoming. In spite of initial tight-lipped reluctance from Ennis a passionate and strong relationship is forged in their time on Brokeback Mountain , which continues long into their subsequent marriages. Their time together, stolen on supposed fishing trips, inevitably causes conflicts and raises suspicions but permeates through 20 years of their life.

The most eclectic of filmmakers (not many surely would follow Crouching Tiger, Hidden Dragon with Hulk ), Ang Lee has crafted here a film of stunning quality. Spanning a 20 year time frame with vast expansive locations he draws exceptional performances from his young cast and produces a love story that easily transcends the aforementioned ‘gay cowboy' tag.

As you would expect from the director of The Ice Storm, itself a dissection of complex relationships, each character is a carefully rounded intricate study in conflicting emotions. If the plaudits inevitably go to Ledger for his delicate stoicism, commendations are also due to Gyllenhaal, who's Jack Twist is seemingly more in touch with his sexuality, but still succumbs to the social pressure of marriage and children. His home life, and in particular his struggle with an overbearing bully of a father-in-law, is as acutely realised as the more obvious struggles between Ennis and his wife Alma (the increasingly good Michelle Williams – see also Wim Wenders Land of Plenty).

Whilst the audiences sympathies inevitably fall with the lovers and the situation they find themselves in, the film is intelligent enough to see them not merely as victims of an intolerant society. They are real characters with real faults - Ennis in particular treats Alma with utter indifference and contempt for much of their time, and despite the cowboys physical relationship denial is the easiest response: “You know I ain't queer” Ellis states, “Me neither” returns Jack.

Producer Schamus said: “We always approached Brokeback Mountain as nothing less than an epic American story”, and what he and Lee have produced is just that. They fill the screen with an America we recognise from countless films - the wide plains of the cowboys land, the dusty bars, the supportive and long suffering wives. A place where men are men. They have also, surely, made one of the finest films of the year. And it's only January.