No Country for Old Men is as exceptional a mix of two creative talents- the Coen brothers, Joel and Ethan Coen, and author Cormac McCarthy (recent winner of the Pulitzer for The Road, his own masterpiece) as one could imagine, as they converge on a story that in lessor hands would be just a B movie. The story concerns an average Joe out hunting one day in Texas who comes across a bunch of dead bodies, heroin, and a satchel with 2 million in cash. He takes it, but without knowing that a true embodiment of a psychopath (Javier Bardem) is on his trail, and as he evades him it becomes more and more clear the fatalism that lies in store, as a weathered sheriff (Tommy Lee Jones) is also on the trail with perpetulally sad eyes looking on from his stolid demeanor.
More than this, it's also about as good a morality play as one could ask for, because it plays and tools and makes very serious questions about what is moral, or what isn't, or what is so ambiguous that it's all up to the toss of a coin or a chance ride out of town. There are a few interpretations to Bardem's character Anton that could be taken, but one thing is certain- he's less a symbol than a real presence, a "ghost" as Jones's sheriff calls him that can come around at the drop of a pin, usually in the dark, and strike the utmost fear (or confusion if you're a clerk) in the hearts of men and women. You'll never look at a coin toss the same way again. Or an air-gun. Or fixing a bullet wound in a leg. Or a hunt at a motel. Or even the aftermath of a car crash.
But at the same time it's the purest time of cinema, recalling Hitchcock and Leone and Welles's Touch of Evil and the best of noir and westerns. There are so many exceptional shots and lighting, so much depth to the perception of the characters through the mis-en-scene, so much tension, that through this it's all up to the actors to make or break the near-perfection that is the McCarthy source. Bardem embodies Anton like no other could- you can't look at his eyes, often steel-cold and horrifically professional (to what professional who can say), which occasional tear- and it's obviously worthy of an Oscar. And Josh Brolin and Tommy Lee Jones are also fantastic; we see Brolin often in the midst of an action scene, a moment of 'save-your-life' going on, and one can finally see an actor of his caliber completely breaking out in a role that doesn't require him to ever totally "emote". Jones, on the other hand, gives a compassionate turn in a film that's about the struggles of desperate men in a land without law and order. He's gone through so much that it comes out completely in his voice and eyes, sorrowful but holding back, and he reaches a level of connection with the character that makes the Fugitive look like simpleton TV. Kelly McDonald, who plays Lleland's wife, is also excellent when called upon, especially in a crucial scene later in the film.
It's gut-wrenching, bleak, violent, super-tense (I clenched many a knuckle during some scenes), surprisingly funny in a darkly comic manner not seen by the Coens in many years, and artistically fashioned to a beat that is meditative (watch the opening moments with Jones's voice-over), simple, and doomed. It's beautiful and terribly tragic, for McCarthy fans it finally strikes at what is truest to his material- even if you haven't read the book itself the Road will give an indication of the mood and atmosphere at hand- and at the moment I can't think of any other film that would be the best pick of the year- maybe one of the best films I've ever seen.
No Country for Old Men
Crime / Drama
No Country for Old Men
Crime / Drama
Llewelyn Moss stumbles upon dead bodies, $2 million and a hoard of heroin in a Texas desert, but methodical killer Anton Chigurh comes looking for it, with local sheriff Ed Tom Bell hot on his trail. The roles of prey and predator blur as the violent pursuit of money and justice collide.
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June 25, 2012 at 1:18 am