Unconventional, thrilling, and stark. Real cinema.
Jan 27, 2008
I have often thought it would be fun to write the plot to a film which was genuinely reflective of how real life unfolds and where no concessions were made to the conventions and impulses of dramatic structure: where the set of narratives, while looking for all the world like they'll lead somewhere, are corrupted, interfered with, or simply lapse through inattention, and are consequently frustrated, transformed, reconstituted and restated on the fly, with no dramatic lesson or deeper metaphyiscal meaning, thus ruining everything before a satisfying outcome is allowed to occur. Not dramatically satisfying, sure, but at least it wold be honest and reflective of how life really is on our side of the silver screen.
No Country For Old Men is that sort of film. A few commentators have taken it to task for its failure to live up to story-telling and character development conventions; the plots and histories to which it introduces us don't prescribe satisfying arcs: They start off well enough but are blown off course, interrupted, or subverted. Some see this as a shortfall; to me, it is very much the point.
It happens, in small details as much as in the main narrative, right from the beginning: Texan everyman Llewellyn is distracted whilst walking through scrubland to retrieve a deer he has shot. He sees a transverse trail of blood, leading over a hill. He follows it, and as a result never gets to collect the deer: the arc is interrupted. The trail of blood leads to the grisly scene of an aborted drug deal. Bodies everywhere and a ring of shot-up pickups suggest it has not gone to plan: its arc was interrupted. Llewellyn is thereafter drawn, like a puppet on a string, by the unintended consequences of his own actions, fiat and the deliberate pursuit of others, to completely re-sculpt the trajectory of his life. That trajectory is itself interrupted (from the perspective of the narrative of the film) in a quite unexpected way.
The unexpected interruption of arcs continues throughout, even in small details: We are introduced to plans and trajectories we know are about to be impaired: An elderly gas station attendant, facing down a man he gradually realises to be a psychopathic killer, recounts briefly the story of his life, and how he came to be at that point at that time. His would-be murderer, Anton Chigurh, flips a dime, and makes facile observations about the fate and destiny of himself, the coin, and the gas station attendant in the same place. Note also the entry and exit from the film of Carson Welles (and for that matter his employer) - both seemingly primed to make a significant dramatic contribution but not ever getting the chance to thanks to events beyond their control. The role of destiny, fate and chance in framing our existences looms large throughout this film.
As does the idea of non-verbal, almost innate communication. Chigurh and the gas station attendant carry on what on its face is an anoydyne conversation, but both are entirely aware what is meant and intended. Later, Chigurh and Llewellyn sit either side of a closed door, neither knowing the other is even there, but a spookily unspoken, almost telepathic dialogue carries on between them. It is masterful film-making.
And this is not to mention the wonderful cinematography, the clever direction, the assured acting, and the clever soundtrack - where even the absence of sound is as significant and suspenseful. No Country For Old Men is also no film for every man or woman: It's extremely violent and the tension is almost unbearable at times: if you're expecting a purely intellectual journey into the dark heart of the American psyche you might (literally) get a fright: it's an old fashioned hide-behind-the-sofa sort of film into the bargain as well.
That said, a second viewing, where the suspense was largely removed, would be highly rewarding. A candidate for DVD release for sure.
Wow. Great movie. I saw this movie at the Rialto in Raleigh, NC, which is worth a trip in itself as an old school "movie palace". The lobby is about the size of my kitchen at home, just enough room for a concession stand, then double doors open directly into the big theatre with a concrete floor sloping down to the big screen on a real stage. Stepping through those double doors is a 50-year step backwards, but the place looks like it has been recently renovated as the floor is clean, the seats are … more
NO COUNTRY FOR OLD MEN I don't know about you but I have always been a huge fan of the Coen Brothers Joel and Ethan, I have liked every film the two have put together. This is no exception and is just another classic in a long list of classics, both theatrically and on DVD this is a brilliant film. I can honestly say that a lot of the time I do not agree with the winners or even the nominees chosen by the Academy for the Oscar but they got it right … more
Sheriff Ed Tom Bell is a good sheriff. He can put together a crime scene and get in touch with who he needs to. Never gets hurt and does a good job keeping the peace. One day though an ugly and violent crime is enough to put him out to pasture. It was enough to make him realize how just like all those disgusting crimes across the country he only read about in newspapers, has finally come home to West Texas. Towards the end of his tenure as Sheriff, an old friend of … more
I was sheriff of this county when I was twenty-five years old. Hard to believe. My grandfather was a lawman; father too. Me and him was sheriffs at the same time; him up in Plano and me out here. I think he's pretty proud of that. I know I was. Some of the old time sheriffs never even wore a gun. A lotta folks find that hard to believe. Jim Scarborough'd never carry one; that's the younger Jim. Gaston Boykins wouldn't wear one up in Camanche County. I always liked to hear about the oldtimers. Never … more
The story opens in the desolate west Texas countryside, as Llewelyn Moss (Josh Brolin) stumbles upon a drug deal gone bad and makes off with a suitcase full of money. He figures he'll be followed and he's right; Anton Chigurh (Javier Bardem), a ruthless and patient killer, is after him. Chigurh is, in turn, being tracked by the local sheriff (Tommy Lee Jones), a good ol' country boy who's amazed at how violent criminals have become lately. I'd heard this was a bloody guy-movie … more
(to the tune of El Paso by Marty Robbins) Close by the West Texas town of El Paso There was a drug deal that went very wrong Llewellyn, he fled with a bag full of money Came back to the scene, but he took far too long Blacker than night was the heart of the Chigurh Wicked and evil and killing for fun He soon went after Llewellyn's new treasure Armed with a captive bolt cow stunning … more
I honestly thought this movie was going to be alot different that what it was....poor guy couldn't catch a break :) I was a bit disappointment by the movie. I didn't except it to end the way it did and just got a bad feeling through the whole movie that it probably wasn't worth all he had to go through. I've also seen better acting from Tommy Lee Jones, really in my opinion the worst I've seen.
The Coen brothers make their finest thriller sinceFargowith a restrained adaptation of Cormac McCarthy's novel. Not that there aren't moments of intense violence, butNo Country for Old Menis their quietest, most existential film yet. In this modern-day Western, Llewelyn Moss (Josh Brolin) is a Vietnam vet who could use a break. One morning while hunting antelope, he spies several trucks surrounded by dead bodies (both human and canine). In examining the site, he finds a case filled with $2 million. Moss takes it with him, tells his wife (Kelly Macdonald) he's going away for awhile, and hits the road until he can determine his next move. On the way from El Paso to Mexico, he discovers he's being followed by ex-special ops agent Chigurh (an eerily calm Javier Bardem). Chigurh's weapon of choice is a cattle gun, and he uses it on everyone who gets in his way--or loses a coin toss (as far as he's concerned, bad luck is grounds for death). Just as Sheriff Bell (Tommy Lee Jones), a World War II vet, is on Moss's trail, Chigurh's former colleague, Wells (Woody Harrelson), is on his. For most of the movie, Moss remains one step ahead of his nemesis. Both men are clever and resourceful--except Moss has a conscience, Chigurh does not (he is, as McCarthy puts it, "a prophet of destruction"). At times, the film plays like an old horror movie, with Chigurh as its lumbering Frankenstein monster. Like the taciturn terminator,No Country for Old ...