So, the other night a couple of friends and I went to see “No Country For Old Men.” I’d been looking forward to this sucker since the first trailer hit the ‘net, and I was stoked. Two hours later, I was…confused. Did I understand it? Maybe. Did I like it? Immensely.
Now, those two guys who saw the flick with me may question “immensely” based on our discussions after the viewing, because I clearly wasn’t as blown away as they were…yet. During the course of those discussions, they brought up such startling observations that I started to consider other possibilities. And I pondered on this damn movie literally for days. I haven’t thought about a film this much since…Christ, I’ve never thought about a film this much. I am simply haunted by it. So, I may not know much, but here’s what I do know:
The casting director deserves an award. Perfectly cast from the top-name stars on down. Gotta love Tommy Lee Jones. As an aging sheriff whose time is almost over, he’s all introspect; quiet and wise, with perfect dead-pan humor, seeing the way the world is changing but unable to stop it. He’s Yoda in a 10-gallon hat.
Then there’s Javier Bardem as killer-for-hire Chigurh. Holy shit is this guy creepy. He’s a killing machine with no expression, no remorse, no soul; only a very strict moral code to which he remains utterly true. And he’s scary as hell. “Heads or tails,” anyone?
And when did Josh Brolin get this good? It’s the perfect marriage of actor and role, and as Llewelyn Moss, he more than holds his own in his cat-and-mouse duel with Bardem. I love it when these underrated actors come out of nowhere and create amazing characters (yo, Casey!). An Oscar nod for both Bardem and Brolin might be a nice gesture. Yes, they’re that good.
The Brothers Coen have filmed the most beautifully photographed killing spree in recent memory, and filled the story with gut-wrenching violence, tension, and dread. And you can’t take your eyes off of it. They’re pretty handy in the editing room too, creating scenes that will be talked (argued?) about for a long while to come.
This film has a couple of things in common with another of my faves this year (see “The Ballad of Jesse James”). I sometimes wonder how much credit should be given to the director for the tone of the piece and how much actually belongs to the cinematographer, and this one blurs the line a bit. Texas never looked so good. Or hot. Or dusty. And to say this film has no soundtrack isn’t quite correct; there may be no musical underscore, but as in Jesse James, the sounds themselves become the soundtrack. It heightens the feeling of anxiety and terror to an almost unbearable pitch. Brilliant.
Now, the reason for my less-than-thrilled initial review; the ending. As the movie came to its conclusion (?), many people left the theater voicing comments of the “what the fuck?” variety. I agreed…that night. But what this film does best of all is leave the ending, and the meaning, open to interpretation. Is it a morality tale? Yes, for some. Others will see correlations to our current political situation and the war in Iraq. Still others will see a tale of greed and retribution. I’ve thought it through, I’ve made my choice, and I won’t post it here to influence yours. If you’ve seen it, comment! I’d love to hear your take.
And for you guys that saw it with me- my opinions have changed greatly since that first conversation, so perhaps a few drinks and a new discussion are in order?
Now, those two guys who saw the flick with me may question “immensely” based on our discussions after the viewing, because I clearly wasn’t as blown away as they were…yet. During the course of those discussions, they brought up such startling observations that I started to consider other possibilities. And I pondered on this damn movie literally for days. I haven’t thought about a film this much since…Christ, I’ve never thought about a film this much. I am simply haunted by it. So, I may not know much, but here’s what I do know:
The casting director deserves an award. Perfectly cast from the top-name stars on down. Gotta love Tommy Lee Jones. As an aging sheriff whose time is almost over, he’s all introspect; quiet and wise, with perfect dead-pan humor, seeing the way the world is changing but unable to stop it. He’s Yoda in a 10-gallon hat.
Then there’s Javier Bardem as killer-for-hire Chigurh. Holy shit is this guy creepy. He’s a killing machine with no expression, no remorse, no soul; only a very strict moral code to which he remains utterly true. And he’s scary as hell. “Heads or tails,” anyone?
And when did Josh Brolin get this good? It’s the perfect marriage of actor and role, and as Llewelyn Moss, he more than holds his own in his cat-and-mouse duel with Bardem. I love it when these underrated actors come out of nowhere and create amazing characters (yo, Casey!). An Oscar nod for both Bardem and Brolin might be a nice gesture. Yes, they’re that good.
The Brothers Coen have filmed the most beautifully photographed killing spree in recent memory, and filled the story with gut-wrenching violence, tension, and dread. And you can’t take your eyes off of it. They’re pretty handy in the editing room too, creating scenes that will be talked (argued?) about for a long while to come.
This film has a couple of things in common with another of my faves this year (see “The Ballad of Jesse James”). I sometimes wonder how much credit should be given to the director for the tone of the piece and how much actually belongs to the cinematographer, and this one blurs the line a bit. Texas never looked so good. Or hot. Or dusty. And to say this film has no soundtrack isn’t quite correct; there may be no musical underscore, but as in Jesse James, the sounds themselves become the soundtrack. It heightens the feeling of anxiety and terror to an almost unbearable pitch. Brilliant.
Now, the reason for my less-than-thrilled initial review; the ending. As the movie came to its conclusion (?), many people left the theater voicing comments of the “what the fuck?” variety. I agreed…that night. But what this film does best of all is leave the ending, and the meaning, open to interpretation. Is it a morality tale? Yes, for some. Others will see correlations to our current political situation and the war in Iraq. Still others will see a tale of greed and retribution. I’ve thought it through, I’ve made my choice, and I won’t post it here to influence yours. If you’ve seen it, comment! I’d love to hear your take.
And for you guys that saw it with me- my opinions have changed greatly since that first conversation, so perhaps a few drinks and a new discussion are in order?
1 comment:
Drinks are essential to any discussion. Tongues need to be loosened, along with the mind. Your initial reaction to No Country was in need of a relaxant. Nothing to be ashamed of here. Many movies have been hated by me after the first viewing, only to be praised and celebrated after the second. Your taste simply requires to marinate before reacting. To prematurely judge is an evil that men do.
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