故事發(fā)生于1961年的德克薩斯州和懷俄明州，農(nóng)夫Jack(杰克.吉倫希爾飾)和牛仔Ennis(希斯.萊杰飾)邂逅，孤單寂寞讓兩個(gè)不到二十歲的少年互相愛上了對(duì)方。他們?cè)隗艋疬呴L(zhǎng)談，在帳篷里歡愛。一個(gè)人做飯，另一個(gè)去放羊，總是早早起床， 推一推還在熟睡的另一個(gè)，道一聲明天見，就騎馬沖進(jìn)寒冷的夜里……雖然彼此真心相應(yīng)，但是迫于世俗壓力, 他們各自結(jié)婚生子，只能每年在一起度假。隨著年齡的增長(zhǎng)，兩人的感情愈加濃厚熾烈，無法滿足一年只有幾天的團(tuán)聚。可是懷俄明的牛仔們嘲笑同性戀，還會(huì)用各種方法折磨他們，這讓Ennis沒有勇氣承認(rèn)和接受與Jack共同生活。 Jack因一場(chǎng)意外不幸去世。Ennis第一次來到Jack父母的農(nóng)場(chǎng)，想遵照他的遺愿把他的骨灰?guī)У絻扇顺踝R(shí)的斷臂山。在Jack的房間里，他發(fā)現(xiàn)了一個(gè)小秘密。這個(gè)小秘密讓Ennis認(rèn)識(shí)到Jack有多愛他，自己有多愛Jack。但是，不管這份愛有多強(qiáng)烈，最終他們擁有的只有那座斷臂山…… What is most notable about the soundtrack to Ang Lee's Brokeback Mountain is the original score by Argentinian music wizard Gustavo Santaolalla (producer of the grand Café Tacuba recordings and a songwriter in his own right, as evidenced by his two albums, Gas and Ronroco). His interludes and cues evoke the very landscape that Lee portrays in his film, but there are also some fine vocal performances by a star-studded cast of singers. Willie Nelson's read of "He Was a Friend of Mine," complete with squeezebox and layered acoustic guitars, is gorgeous. Emmylou Harris' performance of Santaolalla and Bernie Taupin's "A Love That Will Never Grow Old" is simple, spare, and poignant. The shuffling honky tonk ballad that Santaolalla wrote for Mary McBride, with its crying pedal steel, hits close to the bone and evokes Patsy Cline. Likewise, the hard-driving country of "I Will Never Let You Go," written for Jackie Greene, is tough and tender. Santaolalla's cues, like the best of Ry Cooder's film scores, touch the film's scenery, move its narrative, and pricelessly frame it in time. Teddy Thompson and Rufus Wainwright team for a throwaway country-swing version of Roger Miller's "King of the Road," but Thompson does a fine job on the Santaolalla and Taupin tune "I Don't Want to Say Goodbye," which is as heartbroken a ballad as one is likely to hear. This is an utterly wonderful soundtrack that could have done without Linda Ronstadt's version of Buddy Holly's "It's So Easy," Steve Earle's "The Devil's Right Hand," or even Wainwright's "The Maker Makes," but this is a small complaint.