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No Country For Old Men [SPOILERS]

 
  

Page: 12(3)

 
 
Twice
22:35 / 21.01.08
Doesn't he kill him too? I'm having trouble remembering exactly but doesn't the accountant say "are you going to kill me too" and then a shot of Chigurh reacting, and then a cut away to a new scene?

I'm pretty sure he said "You didn't see me" to the accountant as well.

And yes, I'm also sure the car crash wasn't his fault. The lights were green and he was flung against the driver's door; not through the windscreen.

As for comparisons to Fargo, for me it's too soon. I remember after seeing that for the first time I was similarly affected. The whole film takes time to settle, and at the moment it's still hanging like a mist in my head and taking little pecks.

Boboss mentioned that it was a very male film, and I can understand the rationale although I certainly didn't pick up on it at the time. For instance, all the guns seemed particularly tatty and not at all romantic, apart from the silver handgun (and I'm not sure why) and Chig-thingy's silenced thing, which didn't even look like a gun, just a great big silencer.

Oh balls. My brain's not going to shut up in bed tonight, and I had to talk to myself about it all the way home.
 
 
All Acting Regiment
17:17 / 22.01.08
For me, any romanticism was only present in the 'freedom' of Lewellyn wandering around in the desert getting into scrapes and hunting - everything involving guns seemed anti-fun.
 
 
The Natural Way
14:33 / 23.01.08
That really was the point of Llewelyn's wife's tete-a-tete w/ Chigurh, wasn't it? To illustrate that all this hiding behind codes and reasons is just bullshit - beneath it all, there's just the seething randomness of man's inhumanity to man. Just the darwinian merry-go-round. And, yeah, it comes broken arm time because it comes broken arm time. And there's no divine retribution in it.
 
 
8===>Q: alyn
02:44 / 29.01.08
I haven't read any of them in some time, but from what I remember of McCarthy's books he's not writing about violent, insane men, he's writing about the devil--it's a very literal, Flannery O'Connor kind of concern. Coen brothers movies are usually about devilish men, that I can think of, evil-hearted men but not literally the devil. Maybe the baldfaced evilness of McCarthy's devil-man appealed to them.

As far as the question of whether Carla breaks Chigurh's "spell" or his concentration or something, I think he answers her pretty clearly when he says that the same series of events that brought the coin-toss to her has brought him; it's not him, not his fault. I wonder, though, what Chigurh was planning to do with the money. It seems like he wanted to steal it. Llewelyn is done in by greed, basically, though it also looks like good old American enterprise. If there's a moral--and again, IIRC, McCarthy is kind of doctrinaire about this kind of thing--it's that you reap what you sow, which is a departure for the Coen brothers, whose stories tend to be about losers who snatch victory from the jaws of defeat.
 
 
STOATIE LIEKS CHOCOLATE MILK
06:35 / 30.01.08
Finally got round to seeing it yesterday, and by crikey if that wasn't awesome. It "felt" like McCarthy- I haven't seen a movie adaptation emulate the style of the author this well since Cronenberg nailed Ballard's clinical and detached thing in Crash.

Yes, in the novel it's clear that Carla dies-

When I came into your life your life was over. It had a begining, a middle, and an end. This is the end. You can say that things could have turned out differently. That they could have been some other way. But what does that mean? They are not some other way. They are this way. You're asking that I second say the world. Do you see?

Yes, she said, sobbing. I do. I truly do.
Good, he said. That's good. Then he shot her.


but I liked that they left it ambiguous in the film. I was also amazed at the Coens' sheer BALLS in using the ending. Reading the novel (before I knew there was a movie being made) I thought to myself- "this book ends amazingly. It's the kind of ending that just wouldn't work in a movie". But it does.

If the rumours are true and Blood Meridian is finally being made, whoever's doing it has got a hell of a lot to live up to. (Read a disturbing thing the other day- The Road is also being made, and will star Charlize Theron. The fact that there's a major female role suggests to me that they've taken HYOOJ liberties with the source material. That's not always a bad thing, but The Road has such a brutal simplicity to it that to add to or change it runs the risk of diluting it somewhat).
 
 
CameronStewart
14:13 / 30.01.08
Yes, in the novel it's clear that Carla dies-but I liked that they left it ambiguous in the film.

Is it any more ambiguous, though, than when he kills the chicken farmer? We've seen him kill nearly everyone he crosses paths with in the film, so when we see him tell the farmer to unload his truck, and after the farmer's puzzled reaction there's a cut to Chigurh hosing down the back of the farmer's truck in a new location, it's pretty obvious what's happened. We never see the murder itself but it's pretty clear based on Chigurh's established behaviour that he killed the farmer and took his truck. Same with Carla, we don't see Chigurh shoot her but is there really any reason to suggest that he didn't?
 
 
Twice
17:38 / 30.01.08
is there really any reason to suggest that he didn't?

Well yes and no. Given Stoatie's clarification it's now obvious. I got the impression, though, that his crash and broken arm was an act of Karma, somehow (as he runs his life); that her refusal to play by his rules and refusal to accept his challenge led him to relent, and he paid a price for that. Without knowing the book, I felt that she survived, and that had the man in the gas station similarly refused to play the game, the game would not be played. Chiguhr has to obey the coin. If the target won't call, what else can he do but walk away? Clearly, though, I was wrong.
 
 
The Idol Rich
21:37 / 30.01.08
Is it any more ambiguous, though, than when he kills the chicken farmer?

Well, seems that a lot of people thought it was more ambiguous, mainly because of the way that her lack of fear and refusal to participate in the game appeared to confuse the nutter.

“Yes, she said, sobbing. I do. I truly do.
Good, he said. That's good. Then he shot her.”


That seems fairly conclusive though… unless he missed, or she was wearing a bullet proof vest - have you considered that eh?

Read a disturbing thing the other day- The Road is also being made, and will star Charlize Theron. The fact that there's a major female role suggests to me that they've taken HYOOJ liberties with the source material.

Oh dear, that seems like a big step on the path (not road) to fucking it right up.
 
 
STOATIE LIEKS CHOCOLATE MILK
22:15 / 30.01.08
Oh dear, that seems like a big step on the path (not road) to fucking it right up.

I'm kind of hoping that she'll be playing the man's wife, and will only appear in the flashback, and that they're bigging her up because she's the biggest name.

That said, I just Googled it, and the GOOD news is John Hillcoat is directing. So even if it's not The Road that we know, and that I'd love to see onscreen, it should be a good film in its own right. Just maybe not the one I was hoping for.
 
 
CameronStewart
03:48 / 31.01.08
unless he missed, or she was wearing a bullet proof vest - have you considered that eh?

No Country For Old Men 2: The Wrath of Carla
 
 
woodenpidgeon
09:58 / 31.01.08
THE BOOTS THE BOOTS
What's brilliant about the scene when he walks out of the house is that you really don't know if he killed Carla or not, until he checks his boots.
We've already seen him be very concerned about the state of his feet. He draws them back out of the way of Woody's pool of blood. We've even seen him walk barefoot. The man is deliberate, and the Coen's are too. When he checks his shoes it's not for doodie, it's for blood, and I think that this is as straight forward as the line in the novel, we just don't see her explode on screen (and thank Christ for that).
Does her refusal to play the game and indictment hurt C, undoubtedly, but he's not being punished for being compassionate. If he spared her-- we better see it on screen, because it's a hell of a character moment.
He kills her. Any other viewing is pretty quirky in my opinion.

Speaking of quirky viewings: Where the hell was C hiding when TLJ searches the Motel? It looks like the front door opens to the wall. I'm reading this as him being death himself and vanishing. Yeah, I'm a weirdo too.
 
 
H3ct0r L1m4
11:36 / 04.02.08
NCFOM was Coens' worst to me.

yeah, it's beautiful and the actors + photography are brilliant [Brolin as a young Nick Nolte, Barden as a bizarre Lynchian mo-fo], and i think i "got" the ending [new bad things happening ramdomly in a increasing wave, overwhelming the old timers, here's the 80s right around te corner] but i hated the banality of Llewellyn departure.

the movie lost me there. i don't care how faithfull it was to the novel, that took me off it. i know it related to banality of Life, reality hitting you like a car not stopping in the red lights.

but i think they failed to hit our stomach with Tommy Live-Journal's dream monologue [and the Reality was so harsh there were no "Coensian" dreams shown, just verbal recollections of them] because his role was so peripheral.

i didn't want the movie to deliver me a hollywoodian resolution, but we're asked to invest so much in the anti-hero and then the focus is not on him anymore but the Greek choir that was commenting on the story so far [TLJ], his death dealt like "something that happened". i know, that's Life for ya, pilgrim. but it ruined the experience for me.

it didn't help that i had just got out of JUNO [which i hated with all my guts]
 
 
sleazenation
14:30 / 04.02.08
Llewellyn's departure isn't banal- it's the thing you don't see coming. Llewellyn didn't see it and neither did you.

This isn't a film about resolutions. It's about a feeling. It's about the perception of how people seem to be getting worse, more violent, that society is beginning to collapse, it's about trying to understand why that might be and ultimately, failing to do that.
 
 
H3ct0r L1m4
15:18 / 04.02.08
good point.

I'd still argue that it felt banal, though. the shot of him er... shot in the ground was so quick some people i was with thought at first it could one of the mexicans that raided the motel. maybe they were not paying too much attention, but anyway, that's how it all felt to me.
 
 
The Idol Rich
15:36 / 04.02.08
It's about the perception of how people seem to be getting worse, more violent, that society is beginning to collapse, it's about trying to understand why that might be and ultimately, failing to do that.

Yes, though is it because it's impossible to understand or is it just that Bell himself can't understand? The reason I ask is because I'm reading the book at the moment and one thing that stood out as different amongst all the similarities is how much more conservative Bell's character is in the book. I'm pretty sure that the scene where he remembers putting the pro-choice woman in her place is one of the few that doesn't make it to the screen. The fact that he can see (or at least it is implied that he might see) the idea of abortion as more evidence that the world is going "to hell in a handcart" seems to make him less of an authoritative figure. The small differences such as this one are all the more pronounced because this has to be the most faithful adaptation I've ever seen. What I'm saying is that the film seems to subtly extrapolate Bell's concerns to make them more general by removing these scenes that do (or would) make his veiws more subjective.
As an aside, to me that kinda raises the question of why more adaptations aren't done that way - you've got a successful and popular book and you want to turn it into a film, why mess with bits of it, change the ending etc? Why not just make the film that fans will love?
 
 
sleazenation
15:49 / 04.02.08
I guess the reason the pro-choice scene was dropped was because it would divide the audience. Pro-choice people would be alienated by the character and their view of him would be obliterated by that particular political stance. As it was Tommy Lee Jones's character's conservatism was adequately conveyed in his conversation with the other old time sherif when they agree that once people start saying their 'sirs' and 'ma'ams' trouble ain't far behind.

As for whether it the inability to comprehend is specific to Jones's character or not, I guess that is an open question that the audience is invited to wrestle with. How do you comprehend those dark and grisly events we saw? Are things worse now? How do you tell? Are you getting older?
 
 
The Idol Rich
16:06 / 04.02.08
I guess the reason the pro-choice scene was dropped was because it would divide the audience. Pro-choice people would be alienated by the character and their view of him would be obliterated by that particular political stance.

I guess that could be the reason but if so it seems like a bit of a shame. I would see that as treating their audience without much respect for its intelligence or ability to see things in various shades - a trap they avoided for the rest of the movie.
 
 
Mug Chum
16:09 / 04.02.08
I seem to remember more than one review pointing out that McCarthy's books are of a very filmic nature (one review I remember -- I think in The New Yorker -- suggested they could be basically "film me!" books -- like Harry Potter -- made very neatly with an eye for possible adaptations).

But I thought the film took that decay note further (or I projected too much of my own views in it) to accentuate that it has always been that way. It's just that old people will always go on about how the world is going to hell, and how the good old days blabla... Or that if it is getting worse, it's just adapting itself to new iterations of horror so it'd be, in fact, horror (so... it is changing, but so it can stay the same, but changing. To worse. And the same. Etc.). But the film's tones are of a very conservative nature, no? The portrayal of mexicans, the undertones of gun entitlement and the need for them (and hunting -- did the book juxtaposed Chigur's second killing with Lwellyn shooting the deer like in the film?), the old "things are changing = bad". I think that Bell's anti-abortion moment would just be the explicit moment, a bit too on the nose. You could say Bell's opinions aren't in synchrony with McCarthy's, but I saw very little in the film that suggested that I wasn't supposed to relate to Bell most of all (I think the one moment I could point out that the film took distance from Bell was in their alienation - "bones on their noses!" - in the diner being treated as amusing, but I figured it was something more coming from the Cohens than coming from McCarthy).
 
 
Evil Scientist
10:46 / 08.02.08
I'm pretty sure he said "You didn't see me" to the accountant as well.

Watched it last night. When the accountant asks Chigurh if he's going to kill him Chirgurh replies: "That depends. Do you see me?".

Very good film. I agree with Boboss, the photography was fantastic. Truely tense scenes (Moss fleeing Chigurh at the hotel with the silenced bullets smacking into everything around him, the dog pursuing him across the river). The realism of Moss and Chigurh having to deal with their various wounds. Lots of genre defying goodness.

No fate but what we make.
 
 
Dead Megatron
11:30 / 08.02.08
Watched yesterday. The anticlimatic ending got me totally off-guard (is this movie missing a reel or something, I wondered), but that's what the Coens do, don't they? They break the mold.

Hector said above that Tommy Lee dream monologue didn't hit as hard because his role was "peripheral", but in view of the non-Hollywoodian ending, I felt it was quite the opposite. In fact, I left the theater under the impression that the whole movie was just an excuse for that very monologue, and the unbearable melancholy that is conveys. To me, the movie was an alegory on dying of old age. It was tommy Lee's character tale all around. The plot,the violence, the meaninglessness of the end, it was all seen trhough his eyes, and had the purpose of making him reflect on the passing of his time (a feeling he only truly conveys with his dream). As he says righ at the beginning:, "it's impossible not to think of the old timers".

Oh, and just to be sure, the Mexicans end up the money, don't they? And the mother died of natural causes, or was she murdered too?
 
 
Evil Scientist
12:07 / 08.02.08
Oh, and just to be sure, the Mexicans end up the money, don't they? And the mother died of natural causes, or was she murdered too?

Yes I think they did. Although I'm not sure how they managed to track him down.

Carla's Mother dies of cancer.
 
 
CameronStewart
12:16 / 08.02.08
Watched it last night. When the accountant asks Chigurh if he's going to kill him Chirgurh replies: "That depends. Do you see me?".

Ah right, I remember that now. Which I took to mean that Chigurh does kill him - he's not giving him an opportunity to live if he keeps quiet, he's telling him that his death is as sure as him seeing Chigurh right in front of him. "Do you see me?" = "Is the sky blue?"

Now that's ambiguous!
 
 
The Idol Rich
13:00 / 08.02.08
Yes I think they did. Although I'm not sure how they managed to track him down.
Carla's Mother dies of cancer.

I thought that they tracked him down becuase Carla's mother says where they are going to the (Mexican?) guy who helps her with her luggage in the airport. Presumably the Mexicans were able to locate his family just like Chigurh and Woody's character.
I was under the impression that the Mexican's fled leaving the money behind after killing the main guy. Chigurh recovered the money from the hotel room which explains his presence when Bell went to the crime scene. In the book this is made more explicit as there is a scene where Chigurh returns the money to the "rightful" owner - much to his surprise, this is another example of Chigurh's peculiar code of honour.
 
 
The Idol Rich
13:01 / 08.02.08
Hmmm, I seem to have highlighted that the wrong way round somehow. Oh well, I think you can see what I mean.
 
 
Thorn Davis
13:04 / 08.02.08
Yes I think they did. Although I'm not sure how they managed to track him down.

There's the scene at the airport where the mexicans go to help Clara's mother with her bags and she just keeps blabbing about them going to El Paso. Where she says "A mexican in a suit? You don't see that often" and then spills her travel plans to him.

As for who gets awya with the money - I think it's Chigurgh. In the book it's explicitly him; in the film it's conveyed through the close up of the air vent grille, and the quarter that was used to unscrew it. The mexicans previously sat in Llewellyn's room for a day without ever checking the air conditioning, whereas Chigurgh went straight for it, seeing the drag marks in the dust. And the use of a coin as a screw just kind of anchors it to him, what with that image being closely associated with his character.
 
 
Dead Megatron
13:52 / 08.02.08
And the use of a coin as a screw just kind of anchors it to him

Right! Thank you
 
 
STOATIE LIEKS CHOCOLATE MILK
16:58 / 08.02.08
that's what the Coens do, don't they? They break the mold

They do indeed, but that wasn't their ending. That was McCarthy's.
 
 
Dead Megatron
19:42 / 08.02.08
They do indeed, but that wasn't their ending. That was McCarthy's

Good point, and I fully intend to find out more about that guy too.

(even though pulling out an ending like that might be easier to do in books than in movies)
 
 
TeN
21:22 / 22.02.08
SPOILERS
SPOILERS
SPOILERS


"I know it was spare, white knuckle and morally resolute but I can't quite fit it all together." - Mick

it's interesting that you'd peg it as "morally resolute"
I had a long conversation about the film with a friend last night, much of which was spent debating whether or not the film was "nihilistic"
he seemed to think it was, I argued that it had elements of nihilism, but that the message I got from the film seemed to be a pessimistic one rather than a nihilistic one

his interpretation was that Chigurh was in a sense, the maturation of Sheriff Bell's mindset - that the killer may have once been an idealist and a moralist who had then lost faith and lost hope (like Bell) and eventually relinquished his morality for a self interested nihilism

in my mind, if Chigurh's mindset (as impenetrable and unknowable as it appears to be) is comparable to any other character, it would be the selfish, Darwinian Moss
I don't think it's an accident that Moss meets his downfall only after Chigurh upsets him by threatening his wife - that tiny bit of unselfishness, of caring for another human life, is his only weakness.

contrary to what I initially stated in my first post in the thread, I don't still consider Chigurh a force of, or representation of evil
adding to the discussion of him being a "force of nature" as much as a character, I think he does indeed view himself that way - a sort of agent of fate, hence the coin tossing - even if he does on occasion let small bits of humanity to slip through

Chigurh to me seems most definitely to be a nihilist. his world is not governed by morality, but rather by patterns and by chance. Moss acts only for his own sake (and even when his wife is threatened, he still doesn't give up his mission), Bell acts for the sake of others, but I think Chigurh believes himself to be acting in the name of some force greater than himself. Both Chigurh and Moss seem to understand the rules that govern the world (a combination of Darwinian order and chaos, essentially) and are able to 'play the game' and survive where the minor characters are not because of this understanding. I wonder: does Chigurh enjoy killing? or would that be too human an emotion? if he does enjoy it, he doesn't show any signs of his enjoyment.

but if we were to suppose a back story for him, I don't think he came to be the way he is through any process of disillusionment. he seems at times almost confused by human emotions, unfamiliar with them, like an android. in my mind, he's always been the way he is now. this fits with the Coens' depiction of him as an "other" with no discernible origin.

to me, the "no country for old men" Bell is living in isn't about evil. Bell is a man who believes irrefutably in moral duality. his confusion comes from his not being able to comprehend, not a world overtaken by evil forces (as a WWII vet, I'm sure he has no trouble conceiving of that), but by a world in which morality is irrelevant. both Moss and Chigurh are representations of this new world. the "pro-choice scene" fits nicely into this as well. Bell sees abortion as evil and cannot understand otherwise, whereas a pro-choicer comes at it from an entirely different direction, dismissing Bell's moral certainty as simplistic (and even old-fashioned)


"As for whether it the inability to comprehend is specific to Jones's character or not, I guess that is an open question that the audience is invited to wrestle with. How do you comprehend those dark and grisly events we saw? Are things worse now? How do you tell? Are you getting older?"
really excellent point
this actually relates to the conversation with my friend that this posts stems from - we were also discussing whether this film (in comparison to Haneke's Funny Games, another film that we agreed could be called "nihilistic") asks the audience to be a part of the battle between a moral world and a world devoid of morality playing out on screen
I suppose there's no way a film CAN'T involve the audience in such a way though
 
 
Not in the Face
10:24 / 29.02.08
Moss acts only for his own sake (and even when his wife is threatened, he still doesn't give up his mission)

I'm not convinced by this argument. Moss' undoing (mentioned upthread) was that he got up at 2am to drive back out to the desert to give a man, who was probably dead, some water at which point his car was found.

If he hadn't done this he would probably have got away clean with the money. I also don't think his refusal to give anyone the money was greed so much as stubborness. Moss, like Bell and Chirugh, clearly lived by his own code one based less on ethics than intense self reliance. It was this that defined him but also limited him I feel. He took the money to provide for himself and Carla. That was his mission. He left her because he knew she would be killed if she was around him. Ultimately though he was dead as soon as his number plate was taken and he knew it but couldn't use the money to disappear. Notably he didn't put in a bank or try and leave the country with Carla and the cash. My impression in both the film and the book was that he didn't really now what to do with the money, it was an experience that was beyond him.

does Chigurh enjoy killing? or would that be too human an emotion? if he does enjoy it, he doesn't show any signs of his enjoyment.

In the film the actor (and presumably the Coen's) give him a different look from the first killing than from the others. I took that to mean that perhaps the very physical nature of the killing was somehow more pleasurable to him, but that the shootings were detached. I don't think really though, that he takes too much pleasure from the killing as an act, but in what it represents. If you view that life is pure chance then being willing to kill on the toss of a coin is an integral part of that. In effect he says 'life is random and my random killings demonstrate that'. Killing reinforces his world view and that (presumably) gives him pleasure.

The most interesting cut for the film from the book was Bell's revelation that his 'heroism' was a fake. While I agree totally that Bell lived in a black and white world, he also clearly knew it was a construct that he was aspiring to rather than an actual state that he talked about. I suspect that the added scene of him standing outside the motel room with Chirugh inside was to keep that message in the film. He was clearly terrified but he went and did it anyway
 
 
The Idol Rich
10:46 / 29.02.08
Moss' undoing (mentioned upthread) was that he got up at 2am to drive back out to the desert to give a man, who was probably dead, some water at which point his car was found.
If he hadn't done this he would probably have got away clean with the money.


Possibly, but the bag had the tracking device in it so probably not. I agree with the thrust of the point you are making though, his attachment to his wife was not his first sign of human "weakness".
 
 
JOY NO WRY
11:46 / 29.02.08
The scene in the hotel room where the money had been taken after Moss' death showed some change on the floor. I had the impression that the quarter was bloodstained, which obviously changed my opinion about the earlier live-or-die cointoss scene. I can't find any pictures online, however.

Anybody else see that?
 
  

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