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Relentless in method,
challenging in presentation, and unforgettable in execution, the
Coen Brothers’ adaptation of Cormac McCarthy’s acclaimed
novel glimpses upon pure genius in its characters and suspenseful
build, but sacrifices much of the clarity (though not the power)
of its narration in the strict adherence to its source material.
Boasting some of the finest performances of the year, the Coen’s
fantastically intricate thriller demands an astute mind and a perceptive
eye to decipher the multi-layered parallels that lie in No Country
for Old Men.
When Llewelyn Moss (Josh Brolin) stumbles upon a drug deal gone wrong and leaves with $2 million in cash, he is relentlessly pursued by several interested parties, including cunningly vicious psychopathic killer Anton Chigurh (Javier Bardem), cocky hitman Carson Wells (Woody Harrelson), and Sheriff Ed Tom Bell (Tommy Lee Jones) . While Llewelyn struggles to stay alive and protect those he loves, the inevitable confrontation with his pursuers steadily closes in on him, as does unflinching fate and its inescapable finality. From the existentialist perspective on life, death and the inevitability of the revolutions of the future, No Country for Old Men examines several complex subjects, many requiring further investigation into the symbolisms of the characters and events portrayed. But what the film sacrifices in its quest to fully represent Cormac McCarthy's speculations and musings on human life is the conventionality of storytelling that many moviegoers all but demand. Initially the film follows Llewellyn’s struggle to survive against the unyielding force of Anton's steely-eyed psychotic killer. The film builds with suspense and flawless pacing, allowing the audience to acknowledge and become familiar with these two characters and their missions. But the harsh transition back to Sheriff Bell’s narration and story arc is a difficult change for viewers who were so heavily immersed in the chaotic thrills of Moss’ and Chigurh’s riveting chase. |
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Almost as if we're cheated
out of seeing each subplot through to completion, No Country for
Old Men jumps around not in its time sequencing, but with its time
lapses. Events most viewers would determine to be crucial to witness
are not shown, instead displaying aftermaths and subsequent events
that are supposed to appease our wandering minds. While this method
of storytelling is both radically unique and faithful to the source
material, it lessens the appeal to general audiences who expect
basic information to be served up in a relatively understandable
manner. Here is a film that actually appeals to critics more than
to fans, and sadly the balance is a little off-kilter, resulting
in too much Barton Fink and not enough Fargo. Although one gets
the distinct feeling that the Coen Brothers chose this novel based
on the similarities in its story and narrative to their own style
and previous films, the result is one that still feels specifically
like a Coen Brothers movie, despite the adaptation of another’s
story.
While No Country may not find perfection in its unorthodox narrative, what has found cinematic sublimity are the performances. Josh Brolin as Llewelyn Moss pulls the audience in to his desperate situation and though his motives aren’t noble by any means, never is there a doubt who you should be rooting for. A victim of greed, obstinance, and unfortunate circumstances, Llewelyn provides an antihero whose pressing journey never ebbs in intensity or moral conflict, and ultimately never ceases to intrigue. Almost destined for an Oscar nomination, Javier Bardem’s monumental portrayal of ruthless killer Anton Chigurh reinvents the notion of an unstoppable juggernaut and also realizes one of the most imaginative instruments of murder ever given its wielder. Violently dispatching his victims with a fateful coin toss and an incomprehensible code of honor, Chigurh blends the best of stone-faced serial killers from the finest slashers with the cold and calculating demeanor of the most intelligent of his kind. Rarely does such a deviously twisted character create such a mesmerizing presence. While Tommy Lee Jones provides much of the sarcastic, witty dialogue inherent to the Coen Brothers’ films, he also represents a narrator of sorts and offers the audience an untainted view of the horrific events unfolding. The supporting cast all turn in admirable performances as well, most notably Woody Harrelson as the egotistic Carson Wells, and Kelly Macdonald as Llewelyn’s innocently naïve wife. A brilliant examination of unavoidable fate and unconventional storytelling, the Coen Brothers’ latest effort is one of masterful precision. Though the story is based on McCarthy’s famous novel, No Country for Old Men still retains the unmistakable mark of the directing duo, and combined with phenomenal characters in a brutally unforgiving world, this thrilling saga of murder, mayhem, and destiny should not be missed. - The Massie Twins |
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