No Country for Old Men is a 2007 neo-west neo-noir thriller film written and directed by Joel and Ethan Coen, based on the Cormac McCarthy No Country for Old Men . A cat and mouse thriller starring Tommy Lee Jones, Javier Bardem, and Josh Brolin, follows a Texas welder and Vietnam veteran in the wilderness of 1980 West Texas. The film reviews the themes of fate, conscience and circumstances that the Coen brothers have explored in Blood Simple films (1984) and Fargo (1996).
No Country for Old Man was aired in a competition at the Cannes Film Festival 2007 on May 19th. It won four awards at the 80th Academy Awards - Best Film, Best Director, Best Supporting Actor (Bardem) and Best Adapted Screenplay. In addition, the film won three UK Academy Film Awards (BAFTA) including Best Director, and two Golden Globes. The American Film Institute listed it as AFI Film of the Year, and the National Review Board voted it the best in 2007.
More critics include No Country for Old Men in their top ten 2007 list than any other movie, and many consider it the best Coen brothers, and one of the best movies of the 2000s. The Guardian ' s John Patterson writes: "The Coens technical capabilities, and their feelings for Western-based western classism reminiscent of Anthony Mann and Sam Peckinpah, matched by several directors of life" , and Peter Travers of Rolling Stone said that it was "the new career peak for the Coen brothers" and "equally entertaining". In 2016, was voted the 10th best movie of the 21st century chosen by 177 film critics from around the world.
Video No Country for Old Men (film)
Plot
In Texas, 1980, a hit man, Anton Chigurh strangled a deputy sheriff to escape from custody and used a captive bolt gun to kill the driver and steal his car. He spends the life of the gas station owner after the owner accepts the challenge and manages to guess the flip of Chigurh's coins.
Hunting pronghorns in the desert, Llewelyn Moss came in after the drug deal went missing awry. He found some dead people and dogs, an injured Mexican asked for water, and two million dollars in suitcases. He took the money and went home. That night, Moss returned to the scene with water. He was chased by two men in the truck and fled. At home, he sends his wife, Carla Jean, to live with his mother, then goes to a motel in Del Rio, where he hides the case in his cooler.
Chigurh, who was hired to return the money, killed his boss after getting clues about Moss's identity. Arriving to find Moss's house, he used his ball gun to blow the key out of the door. Investigation breaks in, Sheriff Tom Bell announces a key that explodes. Using a hidden money-tracking device, Chigurh goes to the Moss motel and kills a group of Mexicans preparing to ambush Moss in his room. Moss rented a second room adjacent to a room of the Mexicans with access to the channel where the money was hidden. He took the suitcase before Chigurh opened the channel and found it empty.
While staying at a hotel in Eagle Pass, Moss found a tracking device, but Chigurh had found it. Their gunfire spilled onto the street, killing a civilian, and both were wounded. Moss escaped to Mexico, hiding money in weeds along the Rio Grande. Wounded badly, he offered money to some musicians, who took him to the hospital. Carson Wells, another charter agent, failed to persuade Moss to accept protection in return for the money. Chigurh cleanses and sews his own wounds with stolen supplies and sneaks into Wells at his hotel. After Wells fails to try to barter for his life, Chigurh kills him in his hotel room. Moss calls the room and answers Chigurh. Chigurh told Moss that he would kill Carla Jean unless Moss handed over the money; he declares that he will kill Moss.
Moss retrieves the case from the Rio Grande bank and arranges to meet Carla Jean at a motel in El Paso, where he plans to give him money and hide it from danger. Carla Jean was approached by Sheriff Bell, who promised to protect Moss. Carla Jean's mother unknowingly reveals Moss's location to a group of Mexicans who had followed them. Bell reached a motel meeting in El Paso, only to hear gunshots and see a pickup truck drove from the motel. When Bell enters the parking lot, he sees Moss lying dead. When Carla Jean arrived, she choked when she saw the body of her husband.
That night, Bell returned to the scene and found the key was detonated. Chigurh is hiding behind the door. Bell walks into Moss's room and sees that the vents have been removed. Later, Bell visits his uncle Ellis, an ex-in-law, and tells him that he plans to retire because he feels "over-matched". Ellis explained that the area was always violent.
A few weeks later Carla Jean returned from her mother's funeral to find Chigurh waiting in her bedroom. He declined the offer of throwing coins for his life, stating that the choice was entirely his. Chigurh left home and checked the soles of his boots. As he drove through the neighborhood, a car hit him at the crossing and Chigurh was injured. He bribed two young witnesses to silence them, and escaped.
After retirement, Bell shared two dreams with his wife. At first, he lost some of the money his father gave him. On the other hand, he and his father were riding horses over snowy mountains; his father went ahead to make a fire in the dark and wait for Bell.
Maps No Country for Old Men (film)
Cast
Production
Producer Scott Rudin bought the movie rights for the McCarthy novel and suggested an adaptation to the Coen brothers, who at that time sought to adapt the novel To the White Seas by James Dickey. In August 2005, Coens agreed to write and direct the film, after identifying with how it gives a sense of place and also how it plays with genre conventions. Joel Coen says that the unusual book approach is "intimate, fun for us, we are naturally interested in changing the genre.We love the fact that bad guys never really meet good people, that McCarthy does not follow up on expectations formula. "Ethan Coen explains that" cruel quality "is" the hallmark of the book, which has a landscape and an unforgiving character but also about discovering a kind of beauty without being sentimental. " Adaptation is the second of McCarthy's work, following All the Pretty Horses in 2000.
Write
The Coens manuscripts are mostly faithful to the source material. In their writing process, Ethan said, "One of us typed into the computer while the other was holding the backbone of the book openly." Still, they are pruned if necessary. A runaway teenager who appeared late in the book and some backstory linked to Bell were both removed. What also changed from the original was Carla Jean Moss's reaction when it came to dealing with an impressive figure of Chigurh. As Kelly Macdonald explains, "the ending of this book is different, he reacts more deeply to the way I react, he's a bit of a mess, in this movie he's been through so much and he can not lose more, it's just that he gets this calm acceptance." In the book, there is also some attention paid to his daughter, Deborah, who left the Bell and who haunts the protagonist in his mind.
Richard Corliss of Time tells us that "the Coen brothers have adapted the previous literary work. Miller Crossing is a cunning and unacknowledged mix of two Dashiell Hammett tales, Red Harvest and The Glass Key and O Brother Where Art Thou? transfered The Odyssey [Homer] to South America in the 1930s, But No Country for Old Men is their first film taken, quite simply, from the contemporary American novel.
This paper is also important for minimal use of dialogue. Josh Brolin discusses his initial anxiety with little dialogue to work with:
I mean, that is fear, surely, because of dialogue, that's what you like as an actor, you know? [...] Drama and all things are all motivational dialogue. You need to find out ways to convey ideas. You do not want to overcompensate because the fear is you'll get bored if nothing happens. You start doing this and this and take off your hat and wear it again or some nonsense that does not need to be there. So yes, I was a little scared at first.
Peter Travers from Rolling Stone praised the novel adaptation. "Not since Robert Altman joined Raymond Carver's short stories in Short Cuts having filmmakers and writers that blend in with such devastating effects as The Coens and McCarthy.Good and evil are dealt with with strict repairs to complexity.. "
Director Joel Coen confirmed his interest in the McCarthy novel. "There's something about it - there's an echo from it in No Country for Old Men that is interesting enough for us," he says, "because it is the idea of ​​a physical work someone does to help reveal who they are and part of the story's fiber. Because you only see this guy in this movie making things and doing things to survive and making this journey, and the fact that you're thrown back, like opposing any dialogue, appeals to us. "
Coen states that this is your "first adaptation". He further explains why they chose the novel: "Why not start with Cormac? Why not start with the best?" He further describes McCarthy's book especially since "unlike his other novel... it's so much more." Coen states that they have not changed much in adaptation. "It's really just compression," he said. "We did not create a new situation." He further assured that he and his brother Ethan had never met McCarthy when they were writing the script, but first met him during the filming. He believed that the author liked the movie, while his brother Ethan said, "he did not shout at us.We actually sat in the cinema/screening room with him when he saw him... and I heard him chuckle a few times, so I think of it as seal of approval, I do not know, maybe sassy. "
Title
The title is taken from the opening line of Irish poetry of the 20th century, William Butler Yeats, "Sailing to Byzantium":
Richard Gilmore links Yeats with the film Coens. "The wailing that can be heard in these sentences," he said, "is no longer the possession of a young country.It is also a lament to the way young people ignore the wisdom of the past and, perhaps, from the old... Yeats chose Byzantium because it is a city The great early Christianity in which the Plato Academy was, for a time, still allowed to function.The historical period of Byzantium was a time of peak which was also a transitional period, the book of mystical writings, A Vision , Yeats said, 'I thought that at the beginning of Byzantium, perhaps never before or since in recorded history, religious, aesthetic, and practical life were one, that is architects and artificers... at the same time with the crowd and a bit of the same.'2 The idea of ​​balance and coherence in religious life , aesthetically, and practically society is Yeats ideal... It is an ideal that is rarely realized in this world and perhaps even in the ancient Byzantium.Of course in the context of this film. There is a State for Parents, one has insight, especially from Bell as the writer of history of that time, that things do not fit, balance and harmony is lost from land and from people. "
Differences from the novel
Craig Kennedy adds that "one major difference is focus.The novel belongs to Sheriff Bell.Each chapter begins with Bell's narrative, which fits and contradicts the action of the main story.Although the film opens with Bell speaking, much of what he does, the book is thick and appears in other forms.Also, Bell has an overall background in a book that does not make it into a movie.The result is a more thematically simplified film, but that gives more characters a chance to shine. "
Jay Ellis describes the encounter of Chigurh with the man behind the counter at the gas station. "Where does McCarthy give us Chigurh's question as, 'What do you most see missing on a coin toss?', He says, 'the film draws the word' see ', but Coen certainly tends to be visual, where the book describes the setting as' almost dark ', the film depicts clearly during the day: no shadow stands out in shooting gas stations, and bright sunlight even under the cloud cover The light pierces two windows and a door comes evenly through the three walls in the interior shots. But this difference enhances his desperation later, when he claims that he must close and he closes on 'near dark', it is darker, as it is, in this cave man's ignorance than outside in the light of truth. "
Filming
The project is a joint production between Miramax Films and classic Paramount based divisions in a 50/50 partnership, and production is scheduled for May 2006 in New Mexico and Texas. With a total budget of $ 25 million (at least half spent in New Mexico), production is scheduled for the cities of New Mexico Santa Fe, Albuquerque, and Las Vegas (which are duplicated as the border town of Eagle Pass and Del Rio, Texas), with other scenes darting around Marfa and Sanderson in West Texas. The US-Mexico border crossing bridge is actually a flyover in Las Vegas, with a border checkpoint built at the intersection of Interstate 25 and New Mexico State Highway 65. Mexico's municipal square was filmed in Piedras Negras, Coahuila.
Before filming, cinematographer Roger Deakins saw that the "big challenge" of his ninth collaboration with the Coen brothers was "making it very realistic, to match the story... I imagine doing it very tense and dark, and quite rare.
"It's all on the storyboard before we start filming," Deakins said at Entertainment Weekly. "In No Country, maybe there are only a dozen pictures missing in the last movie.This is a planning sequence, and we only shoot 250,000 feet, whereas most of that production might shoot 700,000 or million feet of film. It's quite right, the way they approach everything.... We never use zoom, "he said. "I do not even carry a zoom lens with me, except for something very specific." The famous coin-throwing scene between Chigurh and the old gas station attendant is a good example; the camera track is so slow that the audience is not even aware of its movement. "As the camera itself moves forward, the audience also moves in. You are really getting closer to someone or something.That, to me, has a much stronger effect, because this is a three-dimensional movement.Zoom is more like your focus of attention. just standing in the same place and concentrating on one smaller element inside the frame.Emotionally, that's a very different effect. "
In later interviews, he mentioned "the awkward dilemma of No Country of course contains scenes of some realistic predicted fictional violence, but... without a violent portrayal of this crime there will be no emotion 'paid off' at the end of the film when Ed Tom complained about the fact that God had not yet entered his life. "
Redirecting
In an interview with The Guardian , Ethan said, "The loud people in the south-west shoot each other - it's really Sam Peckinpah's thing, we realize the similarity, of course." They discussed the choreography and directed the violent scenes in the film in the Sydney Morning Herald: "'They are fun to do,' the brothers chime on the mention of their penchant for blood." Even Javier will come at the end of the film, rub his hands and say, 'Okay, who am I killing today?' Joel added. "It's fun to find out," Ethan said. 'Fun to work on how to make a choreography, how to take a picture, how to engage the viewers who watch it.' "
Director Joel Coen describes the filmmaking process: "I can almost set my clock by how I will feel at different stages of the process It is always identical whether the movie ends work or not I think when you watch the daily, the movie you record every day , You are very excited about it and very optimistic about how it will work.And when you see it the first time you put the movie together, the roughest piece, is when you want to go home and open the blood vessels and get into the tub warm and go away, and then gradually, maybe, walk back, to a place to where you were before. "
David Denby from The New Yorker criticizes the way Coens "throw" Llewelyn Moss. "The Coens, however loyal it is," he said, "can not be forgiven for throwing Llewelyn away.After watching this stupid but physically gifted and decent man flee so many traps, we have a lot of emotional investment in him, but he was eliminated, outside the camera, by some unknown Mexicans He did not get the dignity of the death scene.The Coens have suppressed their natural excitement They have become disciplined disciplinarian rulers, but there is still that feeling, out there in way out of nowhere, they support it rather than against it. "
Josh Brolin discussed Coens' briefing style in an interview, saying that the brothers "just really say what needs saying.They do not sit there as a director and manipulate you and go page after page to try to get you to a certain place. They may come and say a word or two, so it's good to be around to feed something else.'What should I do now? I'll just watch Ethan go humming to himself and pacing up and down. I have to do as well. ' "
In an interview with Logan Hill from New York magazine, Brolin said, "We have a lot of fun to make it. Maybe it was because both of us [Brolin and Javier Bardem] thought we were going to get fired. With Coens, there is zero praise, absolutely nothing zero. There is no 'good work'. Then, I did this scene with Woody Harrelson, Woody did not remember the lines, he staggered through it, and then the two Coens were like, 'My God! Fantastic!'
David Gritten of The Daily Telegraph wonders: "Did Coens finally grow up?" He added: "If [the film] feels pessimistic, Joel insists it's not Coens's responsibility: 'I do not think this movie is more or less a novel, we try to give the same feeling.' However, the brothers admit that it is a dark story. 'It's refreshing for us to do all sorts of things,' said Ethan, 'and we've just done two comedies.' "
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The Coens minimize the scores used in the movie, leaving a large section without music. The concept was Ethan, who persuaded Joel the skeptic to follow the idea. There was some music in the film, which was printed by the old composer of The Coens, Carter Burwell, but after discovering that "most musical instruments do not fit the minimalist statue in his mind [...] he uses a singing bowl, a metal bell stand traditionally used in Buddhist meditation practice that produces a continuous tone when polished. "The film contains" only "16 minutes of music, with some of them at the end of the credit. The music in the trailer was called "Diabolic Clockwork" by Two Steps from Hell. Editing and sound effects are provided by other old Coens collaborators, Skip Lievsay, who use a sound mixture (gunshot) and surrounding noise (engine sound, prairie wind) in the mix. Foley for the captive bolt gun used by Chigurh was made using pneumatic nails.
Anthony Lane of The New Yorker states that "there is almost no music, sensuality or anything else, and Carter Burwell's score is little more than an anxious mumble," and Douglas McFarland states that "maybe [the movie] Characteristics formal standout is the absence, with one exception, from the soundtrack of music, creating an atmosphere conducive to wise and irregular speculation in what is otherwise a vicious and destructive landscape. "Jay Ellis, however, disagrees. "[McFarland] missed a very quiet tone but was heard in several tones from the keyboard that started when Chigurh flipped a coin for the gas station man", he said. "This ambient music (by longtime co-collaborator Coens Carter Burwell) grows invisibly in volume so easily missed as an element of misunderstanding, but it is there, telling our unconscious that something different is happening with It is certain when it ends when Chigurh reveals coin at the counter.The deepest danger has passed as soon as Chigurh finds (and acting Javier Bardem confirms this) and reveals to the person he has won. "To achieve such a sound effect, Burwell" tuned the musical sound to the 60-hertz frequency of the refrigerator. "
Dennis Lim from The New York Times emphasized that "there is virtually no music on the soundtrack of this thriller thriller. The long passages are completely without words. In some of the most interesting sequences you often hear is a stifling silence. "Skip Lievsay, the film's sound editor, calls this approach" quite an extraordinary experiment, "and adds that" the thriller tension in Hollywood is traditionally done almost entirely with music. The idea here is to remove the safety net that allows the audience to feel like they know what will happen. I think it makes the film more stressful. You are not guided by a score and so you lose that comfort zone. "
James Roman observed the sound effects in the scene where Chigurh pulled the gas at the rest stop Texaco . "[The] scene evokes a frightening depiction of innocence against evil," he says, "with a subtle rich image nuanced by the sound.When the scene opens in a long shot, the screen is full of remote locations from the stop with a Texaco mark slightly creaking in the breeze The sounds and wrinkled wrapping of cashews thrown on the table add to the tension as the paper revolves and spins.The intimacy and horror potential that it shows has never been raised to the level of kitsch drama as the tension rises from just the sense of calm and calamity that apply. "
Jeffrey Overstreet adds that "the scenes in which Chigurh stalks Moss are as tense as anything Coens ever staged, and that's as much as what we hear as we see No Country for Old Men does not have a traditional soundtrack, but it does not say it has no music.The blips of the transponder are just as frightening as the famous theme of Jaws The sound of footsteps on the wooden floor in the hotel hallway is as unpleasant as a war drum.When leather briefcase squeals on the metal shaft vent, you will cringe, and echoes away from the phone ringing in the hotel lobby will make you nervous. "
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Style
While No Country for Old Men is a faithful "faithful adaptation" of the 2005 McCarthy novel and its themes, it also revisits themes that Coens have explored in their previous movie Blood Simple and Fargo . The three films share common themes, such as pessimism and nihilism. The novel motif of opportunity, free will, and predestination is a region familiar to the Coen brothers, who present similar threads and tapestries about "the fate [and] circumstances" in previous works including Raising Arizona , which featured other assassins, though his tone was less serious. Many critics have pointed out the importance of the opportunity for novels and films, which focus on the chips of the fate of Chigurh, but notes that the nature of the film medium makes it difficult to include "the quality of self-reflection of the McCarthy novel."
However, Coens opened the film with a voiceover narrative by Tommy Lee Jones (who plays Sheriff Ed Tom Bell) against a barren country landscape where he made his home. His prediction of a teenager he sent to the chair explained that, although the newspaper described the boy's murder of his 14-year-old boyfriend as a crime of passion, "he told me nobody was excited about it. 'to kill someone as long as he can remember.said if I let him out of there he would kill somebody again Tell him he's going to hell It's supposed he'll be around in 15 minutes. " Chicago Sun-Times critic Roger Ebert praised his narrative. "These words sounded word for word to me from No Country to Old Man , Cormac McCarthy's novel," he said. "But I found them insufficient, and the impacts have been fixed at the time of delivery.When I get this DVD of the film, I will listen to the narrative stretch several times: Jones gives it with vocal precision and it contains incredible emotion, and it organizes the whole movie."
In The Village Voice, Scott Foundas writes that "Like McCarthy, The Coens is less interested in who (if any) escapes with booty than in primal forces that push the character forward... In the end, all people at No Country for Old Men are hunters and hunted, members of some endangered species trying to prevent their extinction. "Roger Ebert writes that" this movie shows how pathetic the human feelings are in facing injustice which is unreasonable. "
New York Times critic A. O. Scott observes that Chigurh, Moss, and Bell each "occupy the screen one by one, almost never appear in a frame together, even as their fate grows tighter."
Variety critic Todd McCarthy explains the mode Chigurh modus operandi : "Death goes hand in hand with Chigurh wherever he goes, unless he decides otherwise... [I] f all that You have done in your life has led you to him, he can explain to his upcoming victim, your time may come.'You do not have to do this, 'innocent people always sue a man whose homicide code, however, sometimes , he will allow someone to decide his own fate by throwing coins, especially in the thrilling initial scene at an old gas station filled with nervous humor. "
Jim Emerson explains how Coens introduced Chigurh in one of the first scenes when he strangled a deputy who caught him: "A murderer rises: our first blurred view of Chigurh's face... As he moves forward, into focus, to make the first kill, we still did not get a good look at him because his head was rising above the top of the frame.The victim, the deputy, never saw what would happen, and Chigurh, coldly, did not even care to look at his face while he locked him up.
Peter Bradshaw's critique of The Guardian states that "the style of the serio-comic poems of the Coens' filmmaking style is presented in secret, as well as their fondness for the strangeness of hotels and motels." But he added that they "have found something that has enhanced and deepened their identity as a filmmaker: a real sense of sincerity, a feeling that their offbeat Americana and terrible comics and surreal can actually be more than the sum of their parts".
Geoff Andrew of Time Out London says that Coens "finds a cinematic equivalent of McCarthy's language: its narrative ellipse, playing with point of view, and structural problems like exploring equations and differences between Moss, Chigurh and Bell. certain feel close-abstract in their focus on objects, sound, light, color or camera angles rather than on human presence... Though the humor of the prefix is ​​remarkable, this is one of the darkest endeavors. "
Arne De Boever believes that there is "proximity, and even intimacy, between the sheriff and Chigurh in No Country for Old Men developed in a number of scenes.There are, to begin with, the sound of the sheriff at the beginning of the film, which accompanied the pictures of Chigurh's capture. This initial change brings together Chigurh's characters and the sheriff was further developed in the film, as the sheriff visited Llewelyn Moss's trailer home in search of Moss and his wife, Carla Jean.Chigurh had visited the trailer just minutes earlier, and brother Coen has a sheriff sitting in exactly the same spot where Chigurh sits (which is almost exactly the same spot where, the previous night, Moss joined his wife on the couch.) Like Chigurh, the sheriff saw himself reflected in the dark glass of Moss television , their mirror image is overlapping if one lays two of these shots.When the sheriff pours himself a glass of milk standing the sweat on the living room table - the sign that the sheriff and his companion, Wendell's deputy (Garret Dillahunt), just missed their man - the reflection of this picture goes beyond the level of reflection, and Chigurh enters the sheriff's constitution, thereby further undermining any easy opposition from Chigurh and the sheriff , and instead expose a certain affinity, intimacy, or similarity even between the two. "
The violence described
In an interview with Charlie Rose, co-director Joel Coen acknowledged that "there is a lot of violence in the book," and considers the violence described in the film as "very important to the story". He further adds that "we can not imagine it, some kind of gentle paddling that's in the movie, and actually do something resembling a book... it's about the character of facing a very brutal brutal world that is very arbitrary, and you should see that."
Los Angeles Times critic Kenneth Turan commented on the violence depicted in the film: "The Coen brothers dropped the mask They put the violence on the screen before, many, but not like this. No Country for Old Men is not celebrating or smiling at the violence; it is hopeless. "However, Turan explains that" no one should see No Country for Old Men underestimating the intensity of the violence. But it is also clear that Coen and McCarthy's brothers are not interested in violence for their own sake, but for what it says about the world we live in... When the movie begins, a confident representative says I can control it, and in times when he has die. He was not anywhere near the mastery he imagined. And in this sense the vision of despair, no one else. "
NPR critic Bob Mondello added that "despite working with a plot about stubborn hatred, the Coen Brothers are never exaggerated.You can even say they know the value of disparaging: At one point they collect the shivers just by having the characters check the soles of his boots as he treads from the doorway to the sunlight At that moment, the blood is quite often gathered in No Country for Parents which they do not need to show what he or she is examining.
Critics Stephanie Zacharek of Salon states that "the adaptation of Cormac McCarthy's novel touches on brutal themes, but never really gets dirty.The hardness of the film is not soft and deep, the kind of thing that hits like a fist, it's brutal, and somewhat devoid but there are still some layers of comfortable distance between it and us.At one point, a character lifts his kobo boots, gracefully, so that will not be swayed by a pool of blood gathered at his feet... Coens often use violent violence to make their point - it's nothing new - but putting that hardness to work in a supposedly deep theme service is not the same as actually making your hands dirty. No Country for Old Men I feel less like breathe, think film rather than exercise, which may be in part because it is an adaptation of a book by contemporary authors who are usually spoken of with voice loud, respectful, in hand, as if he was a school friend who finally brought some senses and booked into a lawless city. "
Ryan P. Doom explains how violence moves during the movie. "The barbarity of American violence," he said, "began with the introduction of Chigurh: one or two quick strikes of strangulation and bloody cattle guns.The strangulation typically indicates the degree of Coens's ability to create a realistic massacre-to enable audiences to understand the horrors conveyed by violence..... Chigurh kills a total of 12 people (maybe more), and, oddly, the violence moves as the film progresses.For the first half of the film, Coens was never shy from releasing Chigurh... Violent devolution began with Chigurh shootout with Moss in motels. Apart from the truck owner who was shot in the head after Moss dropped him off, both the motel clerk and Wells's death were off the screen.It specially showed that the murder did not mean anything.Ready beyond comfort, the camera drove when Chigurh shot Wells with a silenced shotgun when the phone rang.He answered it was Moss, and as they spoke, blood bristled bes to the whole roo. m towards Chigurh's feet. Immovable, he put his feet on the bed and continued the conversation as the blood continued to spread on the floor. By the time he kept his promise to visit Carla Jean, the resolution and violence seemed incomplete. Although we are not shown the death of Carla Jean, when Chigurh came out and examined the bottom of his socks [shoes] for blood, it was a clear indication that his violence had struck again. "
Similarities with previous Coen brothers film
Richard Gillmore states that "the previous Coen brothers who had the most in common with No Country for Old Men is, in fact,
Joel Coen seems to agree. In an interview with David Gritten of The Daily Telegraph, Gritten stated that "the whole [film] appears to belong to the categorized category of Coen film occupied only by Fargo (1996).) , who... is also a criminal story with a decent little town sheriff as his main character.Joel sighs. "I know. There are parallels. "He shook his head.'These things really should be obvious to us. ' "In addition, Ethan Coen states that" we do not realize it, [and] to the extent that we are, we are trying to avoid it. "Similarity with Fargo actually happens to us, not that it's a good thing or a bad thing. the only thing that comes to mind as reminiscent of our own film, [and] it's not intentional. "
Richard Corliss of Time magazine added that "there is also Tommy Lee Jones playing the right police like Marge at Fargo," while Paul Arendt of the BBC stated that the film transplanted "Nihilism despair and tar-black humor from Fargo to the arid plains of Blood Simple . "
Genre
Although Paul Arendt of the BBC found that " No Country... can be enjoyed as a direct thriller genre" with "a series of tensions... that rival the best of Hitchcock", in other cases the film can be described as western language, and the question remains unresolved. For Richard Gillmore, it is "and is not, a west, it happens in the West and the main protagonist is what you call a westerner." On the other hand, the plot revolves around a bad drug deal involving four-wheel-drive vehicles, semi-automatic, and executives in high-rise buildings, nothing seems to belong to the west. "
William J. Devlin clarifies his point, referring to the film as "neo-Western", distinguishing it from the classical western by "demonstrating the decline, or decay, of the traditional western ideal... The Western moral framework... containing a... innocent and healthy people who are fighting for what is right, fade away, criminals, or criminals, acting in such a way that traditional heroes can not understand their criminal behavior. "
Deborah Biancott sees "the western gothic..., the struggle for and with God, the examination of mankind who is haunted by his past and condemned his future horror.... [I] is an unrepentant crime story, scary but charming wicked living with an unidentified and alien moral code. A traveler, psychopath, Anton Chigurh, is a supernatural person invincible. "
Even the directors have been burdened. Joel Coen found the movie "interesting in the genre way, but it also appealed to us for undermining the genre's expectations." He does not think of the film as a western movie because "when we think about western, we think of horses and six guns, saloons, and hitching posts." But co-director Ethan said that the movie "is sort of western," before adding "and sort of not."
Gillmore, though, thinks that it is "a mixture of two great American film genres, western and film noir," which "reflects both sides of the American psyche.On the one hand, there is a west where westerners are faced with tremendous opportunities but between perseverance and skill, he overcame opportunities and victories.... In the noir movie, on the other hand, the hero is clever (more or less) and ingenious and there are many obstacles to overcome, the chances are against him, and, in fact, he fails to overcome them.... This genre reflects the pessimism and fatalism of the American psyche.With No Country for Parents , The Coens incorporates these two genres into a single film.This is a Western film with the noor ending of a tragic, existential film. "
Theme and analysis
One of the themes in this story involves the tension between destiny and self-determination. According to Richard Gillmore, the main character is split between the inevitable, "that the world walks in its path and that it has nothing to do with human desires and concerns", and the idea that our future is closely related to our past actions. Enda McCaffrey detailed characters who refused to acknowledge his own agency, noting that Anton Chigurh (Javier Bardem) ignored repeated warnings that he did not have to behave as he did and suggested that by lowering the lives of Carla and the gas station officer for the tossing of coins he handed " over 'fate' in a bad act of faith that prevents him from taking responsibility for his own ethical choice. "
Llewelyn Moss (Josh Brolin) complains among immoral behaviors such as taking money that does not belong to him, refusing to involve the police and putting his family in grave danger, and moral courage acts like returning to the scene of the shoot to give the person who is dead, broke away from his family and deny the advancement of a beautiful woman in a motel that demonstrates the flexibility of the principle, as well as the desire to escape the consequences and willpower to survive by all means. Anton Chigurh is the most immoral, killing the people who block his path and decide that the coin toss decides the fate of others. The third person, Sheriff Ed Tom Bell, believed himself to be moral, but felt challenged, however powerful he was, against the peril that surrounded and threatened to overwhelm him.
Not just behavior, but positions change. One of the themes developed in the story is the identity that changes from hunters and hunted. Scott Foundas stressed that everyone in the film plays both roles, while Judie Newman focuses on transition moments, when hunter Llewelyn Moss and Wells researchers become their own targets.
The story compares the old "Wild West" narrative with modern crime, which suggests that ancient heroes can hope to escape rather than triumph over evil. William J. Devlin explores the narrative of Sheriff Ed Tom Bell, an old Western hero, a symbol of an older tradition, which does not serve the less-fortunate "Wild West" but a landscape that evolves with a new kind of self-perplexing crime. William Luhr focuses on the perspective of retired lawman played by Tommy Lee Jones at the beginning of the film, withdrawing from a crime he can neither understand nor overcome, reflects the millennium's millennium world view with "no hope for a worthy future, only a remote possibility individual detachment of it all. "
Release
Cinema and box office release
No Country for Old Men aired in a competition at the Cannes Film Festival 2007 on May 19th. Stephen Robb of the BBC covered the opening of the movie in Cannes. "With none of the undisputed classic signs in this 60th Cannes competition," he said, "No Country for Old Men" might have emerged as a pioneer for the trophy Joel and Ethan Coen collected for < i> Barton Fink in 1991. "We are very lucky because our films have some kind of home here," Joel said. "From the point of view of getting the movies to the audience, this is always a very fun platform. 'It opened commercially in a limited release in 28 theaters in the United States on November 9, 2007, grossing $ 1,226,333 over the opening weekend, and opened in the UK (limited release) and Ireland on January 18, 2008. It became the largest box-office hit for the Coen brothers to date, grossing over $ 170 million worldwide, until it was exceeded by True Grit in 2010.
The reception for the first film screening in Cannes was positive. Screen International ' s jury critics, gathered for the daily publication of Cannes, all giving three or four marks of four. The magazine's review said the film had fallen short of the 'occasional glance seen in its grasp'. But he added that the film was "guaranteed to attract a healthy audience based on the track record of those involved, respecting the novel and critical support."
The film was commercially opened in a limited release in 28 theaters in the United States on November 9, 2007, grossing $ 1,226,333 during the opening weekend. The film expanded to a widespread release in 860 theaters in the United States on November 21, 2007, the best-selling $ 7,776,773 during the first weekend. The film then increased the number of cinemas to 2,037. This was the 5th highest-rated movie at the US box office over the weekend ending December 16, 2007. It opened in Australia on December 26, 2007, and in the UK (limited release) and Ireland on January 18, 2008. As of February 13, 2009, earned $ 74,283,000 domestically (United States). No Country for Old Men became the biggest box-office hit for Coens to date, until it was exceeded by True Grit in 2010.
No Country for Old Men is the third best-selling Oscar winner, just above Crash (2005) and The Hurt Locker (2009). "The last balance sheet is $ 74 million gross" domestically. Miramax uses a typical "gradual release" strategy: "released in November,... initially given limited release,... and... benefited from nominations and victories, with weekend grosses take after each. "In contrast, the winner of the previous year, The Departed is" Best Picture Winner with a typical time series graphic of Hollywood blockbusters - big opening weekend followed by a steady decline. "
Home media
Buena Vista Home Entertainment released the movie on DVD and in high definition Blu-ray format on March 11, 2008 in the US. The only extra is the three behind the featurettes screen. The release topped the home video rental chart after it was released and remained in the top 10 for the first 5 weeks.
The Blu-ray.com website reviews Blu-ray movies, and provides almost full video quality. It states that "with AVC video MPEG-4 on BD-50, image quality No Country for Old Man stands at the top of the household video ladder, color vibration, black level, resolution and contrast are reference quality... Every line and wrinkle on Bell's face is solved and Chigurh sports a pageboy haircut in which each strand of hair appears individually distinguishable.No other films bring his character to live so clearly only on the visual technical benefits... Watch the night shoot between Moss and Chigurh outside the hotel... When the bullet hit the windshield of the Moss vacation car, notice every crack hole and bullet in the glass is very clear. "
Audio quality gets almost full value, where "24-bit 48 kHz lossless PCM serves sound well, and excels in a more treble-rone sound... Perhaps the most audible sequence is the dawn chase scene after Moss returns with water Close your eyes and listen to Moss's breath and footsteps as he runs, trucks in pursuit as he works on rocks and bushes, crack rifles and hissing bullets as they tear the air and touch the ground... the whole sequence and the whole movie sounds terribly convincing. "
Kenneth S. Brown of the High-Def Digest website states that "the Blu-ray movie edition... is amazing... and includes all the special features of 480i/p that appear on standard DVDs, but to me Disappointment, not including the much-needed director's comments from Coens, it would be very interesting to hear the brothers dissect the difference between the original novel and the Oscar-winning film.It may not be of interest, extra packages, but it has striking video transfers and excellent PCM audio tracks. "
The Region 2 DVD (Paramount) was released on June 2, 2008. The film was released on Blu-ray Disc in the UK on September 8, 2008. The 3-disc special edition with digital copies was released on DVD and Blu-ray on April 7, 2009. That presented in 2.35: 1 anamorphic widescreen and Dolby Digital 5.1 (English, Spanish). This release includes more than five hours of new bonus features even if it does not have deleted audio scenes and comments. Some of the bonus material/features on the disc include documentaries on production and work with Coens, a featurette made by Brolin, a "Diary of a Country Sheriff" featurette that considers the main characters and subtext they form, Q & Discussions with crew organized by Spike Jonze, and various interviews with players and The Coens from EW.com Just Minutes,
Reception
Aggregator reviews Rotten Tomatoes surveyed 279 critical responses and rated 93% of them positive, with an average of 8.7/10. The website's critical consensus reads, "Backed by strong mainstream performances from Javier Bardem, Josh Brolin and Tommy Lee Jones , No Country for the Old Man found the Coen brothers and sisters who rolled the cinematic gold out of the grim Cormac McCarthy, very dark funny novel. ". The film also has a 91/100 rating on Metacritic, based on 37 reviews, showing "universal recognition". Upon release, the film was widely discussed as a possible candidate for several Oscars, before proceeding to receive eight nominations, and eventually won four in 2008. Javier Bardem, in particular, has received considerable praise for his performance in the film.
Peter Bradshaw of The Guardian calls it "the best of [Coens'] careers so far". Rob Mackie from The Guardian also says that "what makes this so prominent is it's hard to put your finger on - it just feels like two absorbing and tense hours where everyone is really on top of them work and fit comfortably in their roles. "Geoff Andrew from Time Out London states that" this movie gives the handle from start to finish ". Richard Corliss of Time magazine chose this film as the best of the year and said that "after two decades of being brilliant in the margin movie, Coens is ready for their closeup, and maybe their Oscars". Paul Arendt of the BBC gave the film a full mark and said that "it does not need a defense: it is a tremendous return to form". A. O. Scott of The New York Times stated that "for the formalists - the cinema goers are sent to rapture by rigorous editing, agile camera work and perfect sound design - this is pure heaven." Both Margaret Pomeranz and David Stratton of the ABC At The Movies show starred films, making No Country for Old Men the only movie to receive such ratings from the host. in 2007. Both praised the film for its visual language and tension, David commented that "Hitchcock will not do better tension".
Disagreements are occasionally voiced, with some critics noting the absence of a "central character" and a "climactic scene"; "disappointing settlement" and "depend on [ce] on arbitrary manipulated plot"; or lack of "soul" and a sense of "despair" in general. Sukhdev Sandhu of The Daily Telegraph believes that "Chigurh never evolved as a [...] character with such powerful material, one would think they could do better than blame him for the vast, mystery that is just pathological. "He further accused it of being full of" pseudo profundities in which [Coen's brother] always specializes. " In The Washington Post , Stephen Hunter criticized Chigurh's weapon for being unintentionally funny and moaning, "It's all chasing, which means that it offers virtually zero in character development.Each number is given, a la standard thriller operating procedure, a moral or psychological attribute and then acting in accordance with that principle and nothing else, without doubt, contradiction or ambivalence. "
Accolades
No Country for Old Men was nominated for eight Academy Awards and won four, including Best Picture. In addition, Javier Bardem won Best Appearance by an Actor in a Supporting Role; Coen brothers won Achievement in Directing and Best Adapted Screenplay. Other nominations include Best Film Editing (Coen Brothers as Roderick Jaynes), Best Cinematography (Roger Deakins), Best Sound Editing and Best Sound Mixing.
Javier Bardem became the first Spanish actor to win an Oscar. "Thanks to Coens for being crazy enough to think I can do that and put one of the most horrible haircuts in history in my head," Bardem said in his acceptance speech at the 80th Academy Awards. He dedicated the award to Spain and his mother, actress Pilar Bardem, who accompanied him to the ceremony.
While awarding Best Director at the 80th Academy Awards, Joel Coen said that "Ethan and I have been making stories with movie cameras since we were kids," recalling their Super 8 movie "Henry Kissinger: Man on the Go". "To be honest," he said, "what we're doing now does not seem so different from what we did at the time, we're very grateful to all of you out there for continuing to let us play in our sandbox corner." This is the second time in Oscar history that two people share the honor of directing (Robert Wise and Jerome Robbins were the first, winning for the 1961 West Side Story).
The film was nominated for four Golden Globe Awards, winning two at the 65th Golden Globe Awards. Javier Bardem won Best Appearance by Actors in Supporting Roles in Motion Pictures and Coen Brothers won Best Screenplay - Moving Images. The film was also nominated for Best Motion Picture - Drama, and Best Director (Ethan Coen and Joel Coen). Earlier in 2007 was nominated for the Palme d'Or at the Cannes Film Festival. The Screen Actors Guild gives the nods a nomination to the players for "Outstanding Performance". The film won top honors at the Guild of America Awards Director for Joel and Ethan Coen. The film was nominated for nine BAFTAs in 2008 and was won in three categories; Joel and Ethan Coen won the award for Best Director, Roger Deakins won Best Cinematography and Javier Bardem won for Best Supporting Actor. It has also been awarded David at Donatello for Best Foreign Film.
No Country for Old Men received recognition from various North American critics associations (New York Film Critics Circle, Toronto Film Critics Association, Washington DC Area Film Critics Association, National Review Board, New York Online Film Critics, Associations Chicago Film Critics, Boston Film Critics Society, Austin Film Critics Association, and San Diego Film Critics Society). The American Film Institute listed it as the AFI Film of the Year for 2007, and the Australian Film Critics Association and the Houston Film Critics Society both chose the best film of 2007.
The film appeared on the list of top ten critics (354) than any other film in 2007, and more film critics No. 1 (90) than the other.
Dispute
In September 2008, Tommy Lee Jones sued Paramount for bonuses and improper cost cuts. The issue was resolved in April 2010, with the company forced to pay Jones a $ 17.5 million box office bonus after a determination that the deal had been mismanaged by studio lawyers, who settled with Paramount for $ 2.6 million for the error.
References
Bibliography
Further reading
External links
Quotes related to No Country for Parents (movies) on Wikiquote
- No Country for Old Man on IMDb
- No Country for Old Man in TCM Film Database
- No Country for Old Man in AllMovie
- No Country for Old Man in Rotten Tomatoes
- No Country for Old Man in Metacritic
- No Country for Old Man in Box Office Mojo
Source of the article : Wikipedia
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