No Country for Old Men
It is only November, and I cannot say I have seen every release worldwide, but with those caveats in mind “No Country for Old Men” is the year’s best film. To say the Coen Brothers have returned to form after a few missteps (“Intolerable Cruelty” and “The Ladykillers” were not bad films per se, just…Coen Brothers light.) is an understatement. Instead, they have more than returned to form, re-establishing themselves as the filmmakers to wait for, and “No Country For Old Men” may be their most important, memorable, and relevant work yet.
The story or template is fairly simple. Based upon American Novelist Cormac MacCarthy’s work of the same name, it is the early 1980’s and Vietnam Vet Llewelyn Moss (Josh Brolin, a fine actor) is out hunting when he comes upon a drug deal gone wrong. He finds one half-alive man, quite a few dead ones and a few million bucks. He takes it back to his trailer and his wife. Then he runs. Swiftly on his and the money’s tail is Anton Chigurgh, as a purely evil and almost delightfully memorable (in a macabre way that is) type of movie villain portrayed here to perfection by Javier Bardem. Two steps behind the action is our narrator, world weary and twice as wise Sheriff Ed Tom Bell, portrayed to perfection by Tommy Lee Jones. He’s as smart as an oak tree and twice as rough. At this point, following the disappointing but extraordinarily acted “In the Valley of Elah,” Mr. Jones out acts the competition with the lines on his weathered skin just sipping a cup of coffee. When he speaks, it all over. Line him up another Oscar nomination.
This movie feels different than other Coen Brothers films. It has in common with most of them technical perfection in the areas of photography, sound, and editing, but it also has a certain weight to it that most of their films lack. “No Country for Old Men” works on the strength of its narrative. But when it’s all over you realize that “No Country for Old Men” is much more than a simple man on the run story. It will leave you speechless, possibly with not much blood left in your face. I am deliberately not elaborating, as this film should be experienced.
It is a commentary on our days (though not taking place in them), like it or not, and it is as powerful of one as could be imagined. It is not just the story that will twist you, but the tone once you realize the ride you’ve been taken on. There is a certain amount of misdirection that in a way gives this film a bit of everything. Working on a literal level, as a commentary on our times, society, and ourselves as filmgoers the film should have you walking out a zombie trying to piece together what exactly happened and what it all means. Left behind is the wonderfully quirky funny homage filled style of filmmaking that the Coen brothers are quite famous for. In its place are still a few laughs, from dry dialogue well delivered and scenes of intense dramatic irony, but mostly just riveting filmmaking that enhances what happens on the screen in every way. I dare you to turn away.
Story: A Llewelyn Moss comes up on two million dollars. It just may be the unluckiest thing he has ever done.
Acting: A Bardem and Jones are two legendary actors at the absolute top of their game.
Visuals: A Longtime Coen Bros. DP Roger Deakins gives us horizon after horizon. This crew is at the top of their game.
Originality/Innovation: A This is art and entertainment-and important in both respects.
Enjoyability Grade: A Well, who wouldn’t enjoy filmmaking genius? It is a bit much for the squeamish and depressed though. But I find good films uplifting no matter what the tone.
Overall Grade: A+ Can’t say enough.
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