No Country for Old Men: A Classic Film for Our Time

Die-hard fans of the Coen Brothers know one of their films, often within the first few minutes. Though they vary widely, their darker films revolve around such themes as hard-gotten money, murder, torture, and the seedier aspects of small town life.

No Country for Old Men is no exception to the rule, however excellent it may be. Adapted from the novel by Cormac McCarthy, it is a violent tale of murder, honor, and fast-changing ways. You may have seen this film when released in theaters; if not, do so now. Around the time of the Oscars, many had been saying that not much quality work was released that year. This only made No Country more deserving of the awards it raked in.

Without giving away too much, the story, set in the 1980s, concerns Ed Tom Bell (Tommy Lee Jones), an aging sheriff close to retirement. Through much of the film, he talks of his earlier days at the career, and how some of his fellow officers didn't even feel the need to carry firearms. A poor hunter by the name of Llewellyn Moss (Josh Brolin) later arrives at a grisly crime scene, struck by the number of bodies and the brutality of the violence. Discovering a briefcase filled with $2 million cash, he makes off with it.

Meanwhile, a ruthless killer named Anton Chigurh (Javier Bardem), is being taken into police custody. Shockingly, he is able to cold-bloodedly garrote the arresting officer to death using his handcuffs, and escapes. Armed with a captive bolt pistol used to slaughter cattle, he disappears, leaving a trail of bodies in his wake. Bell, assigned to the case, investigates the earlier slaughter scene and comments on its horrifying quality. As he investigates further, he begins to realize the class of criminal he is dealing with, and the way that times have changed for the worse.

A number of themes are explored in the story, often reflected upon by Sheriff Bell. Though it is clear from the beginning, to the audience, who the murderer is, we do not know his motivations. He seems to simply delight in random killing, whether money is to be gained from it or not. Like many protagonists in modern crime films, Bell is baffled by such a case. He is shocked at the cruelty and complete disconnection between the killings,, and is frequently thrown off when certain details don't seem to add up.

Bell, in some ways, bears resemblance to Marge Gunderson, the main police officer in the Coen Brothers' Fargo. Both are confronted with multiple murders, few clues, and dangerous criminals who don't seem to know the meaning of mercy. However, both films are more than just average murder mysteries; it is the portrayal of the characters and the atmosphere weaved by the Coens that truly set them apart.

Like the "Master of Suspense," Alfred Hitchcock, the Coen Brothers create a dismal and tense scene from the small town in which the action takes place. Seemingly innocuous locations, such as motels and convenience stores, suddenly become possible outlets for murder. Each sound effect, crisply rendered, adds subtle layers of apprehension to each scene, whether it be a doorknob turning, gentle footsteps, or the blast of gunshots.

So, too, are sets essential to the overall feel. Cinematographer Roger Deakins captures the Midwestern tans, browns, and yellows of sand and wood to create a feeling of desolation and emptiness necessary to the theme. Just as Ed Bell comments that times have changed, the scenery reflects an atmosphere of lifelessness, as opposed to the classic set designs we are used to in Westerns.

Also, like in Fargo, there are extreme variations and subtleties in the characters. Anton Chigurh, for example, may be a cold-blooded killer, but at times he seems to operate by his own code of unpsoken rules. He is a man of few words, and it is often unclear when or where he will commit murder. Bardem's powerful performance lends tension and unease to many scenes. And unlike some of the one-dimensional characters in today's average horror film, he is extremely crafty and skilled when it comes to escaping and surviving in the heat of the moment.

Bell, though unaccustomed to the class of criminal he finds himself pursuing, is nonetheless dedicated up to the very end (though he finds his faith wavering.) Moss, on the other hand, is a bit more reckless, and somewhat arrogant in his actions. Believing himself tougher and more capable than he actually is, he has a number of brushes with death, effectively adding to the intensity.

Like many of the great thrillers and mystery stories of our time, No Country for Old Men transcends the genre. Regardless of the setting, it makes use of mystery conventions in a new, innovative way. At any given moment, it keeps the audience wrapped in the plot through the use of all the above devices. In some ways, it recalls Jonathan Demme's classic The Silence of the Lambs, in that its "heroes" are flawed, and deeply conflicted. Both films' villains, too, are psychologically complex, playing with the notions of evil that viewers are used to.

The film is no typical Western, either, with the all-American gunslinger in the lead role, or the damsel in distress audiences have seen countless times. Its women, Carla Jean Moss (Kelly MacDonald), and Loretta Bell (Tess Harper), are strong and have depth of character. Though shot in a Western setting, the story could possibly have taken place in a city (though some of the thematic elements may have been lost.)

Overall, Ethan and Joel Coen have crafted a masterpiece, a multilayered journey that may find its place in film history. Hopefully, beyond just the Academy Awards, it will receive the appreciation and recognition that it deserves.