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No Country for Old Men ist ein US-amerikanischer Spielfilm von Ethan und Joel Coen aus dem ikhp-mtb.se: Box office / business for No Country for Old Men, abgerufen am 3. Oktober ; ↑ Premierendaten für No Country for Old Men. We Finally Understand the Ending of 'No Country for Old Men' on typical gender stereotypes, causing difficulties in relationships between men and women. We Finally Understand the Ending of 'No Country for Old Men' A man escapes from prison and holes up in an abandoned barge near an isolated village by. We Finally Understand the Ending of 'No Country for Old Men' A story such as this, set in a completely different country and in a different language, benefits all. ikhp-mtb.se - Kaufen Sie No Country For Old Men günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu​.

no country for old men imdb

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Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Violence and mayhem ensue after a hunter stumbles upon a drug deal gone wrong and more than two million dollars in cash near the Rio Grande.

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Top Rated Movies Won 4 Oscars. Ed Tom Bell Javier Bardem Anton Chigurh Josh Brolin Llewelyn Moss Woody Harrelson Carson Wells Kelly Macdonald Carla Jean Moss Garret Dillahunt Wendell Tess Harper Loretta Bell Barry Corbin Ellis Stephen Root Man who hires Wells Rodger Boyce El Paso Sheriff Beth Grant Carla Jean's Mother Ana Reeder Poolside Woman Kit Gwin Sheriff Bell's Secretary Zach Hopkins Strangled Deputy Chip Love Learn more More Like This.

Fargo Crime Drama Thriller. Stars: William H. There Will Be Blood Inglourious Basterds Adventure Drama War. Django Unchained Drama Western.

Pulp Fiction Crime Drama. The Big Lebowski Comedy Crime Sport. Taxi Driver Reservoir Dogs The Departed Scarface In Miami, a determined Cuban immigrant takes over a drug cartel and succumbs to greed.

Shutter Island Mystery Thriller. The Shining Drama Horror. Edit Storyline In rural Texas, welder and hunter Llewelyn Moss Josh Brolin discovers the remains of several drug runners who have all killed each other in an exchange gone violently wrong.

Taglines: How does a man decide in what order to abandon his life? Edit Did You Know? Trivia An unforeseen expense for the film was the make-up department buying expensive fake blood at eight hundred dollars a gallon.

Joel Coen realized why they were spending so much when it came to film the scene where Llewelyn Josh Brolin stumbles across the aftermath of a shoot-out with lots of extras lying around dead in the dust.

Ordinary fake blood made with sugar would have meant the extras would have been crawling with bugs and ants, while the insects had no interest in the expensive stuff.

Goofs When Llewelyn finds the transponder, he leaves the suitcase open, yet when he is escaping minutes later, the suitcase is closed when he grabs it.

Hard to believe. My grandfather was a lawman; father too. Me and him was sheriffs at the same time; him up in Plano and me out here.

I think he's pretty proud of that. I know I was. Some of the old time sheriffs never even wore a gun. A lotta folks find that hard to believe.

Richard Gillmore relates the Yeats poem to the Coens' film. It is also a lament for the way the young neglect the wisdom of the past and, presumably, of the old Yeats chooses Byzantium because it was a great early Christian city in which Plato's Academy , for a time, was still allowed to function.

The historical period of Byzantium was a time of culmination that was also a time of transition. In his book of mystical writings, A Vision , Yeats says, 'I think that in early Byzantium, maybe never before or since in recorded history, religious, aesthetic, and practical life were one, that architect and artificers It is an ideal rarely realized in this world and maybe not even in ancient Byzantium.

Certainly within the context of the movie No Country for Old Men , one has the sense, especially from Bell as the chronicler of the times, that things are out of alignment, that balance and harmony are gone from the land and from the people.

Craig Kennedy adds that "one key difference is that of focus. The novel belongs to Sheriff Bell. Each chapter begins with Bell's narration, which dovetails and counterpoints the action of the main story.

Though the film opens with Bell speaking, much of what he says in the book is condensed and it turns up in other forms.

Also, Bell has an entire backstory in the book that doesn't make it into the film. The result is a movie that is more simplified thematically, but one that gives more of the characters an opportunity to shine.

Jay Ellis elaborates on Chigurh's encounter with the man behind the counter at the gas station. Where the book describes the setting as 'almost dark', the film clearly depicts high noon: no shadows are notable in the establishing shot of the gas station, and the sunlight is bright even if behind cloud cover.

The light through two windows and a door comes evenly through three walls in the interior shots. But this difference increases our sense of the man's desperation later, when he claims he needs to close and he closes at 'near dark'; it is darker, as it were, in the cave of this man's ignorance than it is outside in the bright light of truth.

In advance of shooting, 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'm imagining doing it very edgy and dark, and quite sparse.

Not so stylized. It's that order of planning. And we only shot , feet, whereas most productions of that size might shoot , or a million feet of film.

It's quite precise, the way they approach everything. We never use a zoom," he said. You're actually getting closer to somebody or something.

It has, to me, a much more powerful effect, because it's a three-dimensional move. A zoom is more like a focusing of attention.

You're just standing in the same place and concentrating on one smaller element in the frame. Emotionally, that's a very different effect.

In a later interview, he mentioned the "awkward dilemma [that] No Country certainly contains scenes of some very realistically staged fictional violence, but We were aware of those similarities, certainly.

Director Joel Coen described the process of film making: "I can almost set my watch by how I'm going to feel at different stages of the process.

It's always identical, whether the movie ends up working or not. I think when you watch the dailies, the film that you shoot every day, you're very excited by it and very optimistic about how it's going to work.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away.

And then it gradually, maybe, works its way back, somewhere toward that spot you were at before. After watching this foolhardy but physically gifted and decent guy escape so many traps, we have a great deal invested in him emotionally, and yet he's eliminated, off-camera, by some unknown Mexicans.

He doesn't get the dignity of a death scene. The Coens have suppressed their natural jauntiness. They have become orderly, disciplined masters of chaos, but one still has the feeling that, out there on the road from nowhere to nowhere, they are rooting for it rather than against it.

Josh Brolin discussed the Coens' directing style in an interview, saying that the brothers "only really say what needs to be said.

They don't sit there as directors and manipulate you and go into page after page to try to get you to a certain place. They may come in and say one word or two words, so that was nice to be around in order to feed the other thing.

I'll just watch Ethan go humming to himself and pacing. Maybe that's what I should do, too. Maybe it was because we both [Brolin and Javier Bardem ] thought we'd be fired.

With the Coens, there's zero compliments, really zero anything. No 'nice work. And then—I'm doing this scene with Woody Harrelson.

Woody can't remember his lines, he stumbles his way through it, and then both Coens are like, 'Oh my God!

We tried to give it the same feeling. The Coens minimized the score used in the film, leaving large sections devoid of music. The concept was Ethan's, who persuaded a skeptical Joel to go with the idea.

There is some music in the movie, scored by the Coens' longtime composer, Carter Burwell , but after finding that "most musical instruments didn't fit with the minimalist sound sculpture he had in mind Sound editing and effects were provided by another longtime Coens collaborator, Skip Lievsay , who used a mixture of emphatic sounds gun shots and ambient noise engine noise, prairie winds in the mix.

The Foley for the captive bolt pistol used by Chigurh was created using a pneumatic nail gun. Anthony Lane of The New Yorker states that "there is barely any music, sensual or otherwise, and Carter Burwell's score is little more than a fitful murmur", [47] and Douglas McFarland states that "perhaps [the film's] salient formal characteristic is the absence, with one telling exception, of a musical soundtrack, creating a mood conducive to thoughtful and unornamented speculation in what is otherwise a fierce and destructive landscape.

But it is there, telling our unconscious that something different is occurring with the toss; this becomes certain when it ends as Chigurh uncovers the coin on the counter.

The deepest danger has passed as soon as Chigurh finds and Javier Bardem's acting confirms this and reveals to the man that he has won.

Dennis Lim of The New York Times stressed that "there is virtually no music on the soundtrack of this tense, methodical thriller.

Long passages are entirely wordless. In some of the most gripping sequences what you hear mostly is a suffocating silence. The idea here was to remove the safety net that lets the audience feel like they know what's going to happen.

I think it makes the movie much more suspenseful. You're not guided by the score and so you lose that comfort zone.

James Roman observes the effect of sound in the scene where Chigurh pulls in for gas at the Texaco rest stop. As the scene opens in a long shot, the screen is filled with the remote location of the rest stop with the sound of the Texaco sign mildly squeaking in a light breeze.

The sound and image of a crinkled cashew wrapper tossed on the counter adds to the tension as the paper twists and turns.

The intimacy and potential horror that it suggests is never elevated to a level of kitschy drama as the tension rises from the mere sense of quiet and doom that prevails.

Jeffrey Overstreet adds that "the scenes in which Chigurh stalks Moss are as suspenseful as anything the Coens have ever staged. And that has as much to do with what we hear as what we see.

No Country for Old Men lacks a traditional soundtrack, but don't say it doesn't have music. The blip-blip-blip of a transponder becomes as frightening as the famous theme from Jaws.

The sound of footsteps on the hardwood floors of a hotel hallway are as ominous as the drums of war. When the leather of a briefcase squeaks against the metal of a ventilation shaft, you'll cringe, and the distant echo of a telephone ringing in a hotel lobby will jangle your nerves.

While No Country for Old Men is a "doggedly faithful" adaptation of McCarthy's novel and its themes, the film also revisits themes which the Coens had explored in their earlier movies Blood Simple and Fargo.

Still, the Coens open the film with a voice-over narration by Tommy Lee Jones who plays Sheriff Ed Tom Bell set against the barren Texas country landscape where he makes his home.

His ruminations on a teenager he sent to the chair explain that, although the newspapers described the boy's murder of his year-old girlfriend as a crime of passion, "he told me there weren't nothin' passionate about it.

Said he'd been fixin' to kill someone for as long as he could remember. Said if I let him out of there, he'd kill somebody again.

Said he was goin' to hell. Reckoned he'd be there in about 15 minutes. And their impact has been improved upon in the delivery.

When I get the DVD of this film, I will listen to that stretch of narration several times; Jones delivers it with a vocal precision and contained emotion that is extraordinary, and it sets up the entire film.

In The Village Voice , Scott Foundas writes that "Like McCarthy, the Coens are markedly less interested in who if anyone gets away with the loot than in the primal forces that urge the characters forward In the end, everyone in No Country for Old Men is both hunter and hunted, members of some endangered species trying to forestall their extinction.

New York Times critic A. Scott observes that Chigurh, Moss, and Bell each "occupy the screen one at a time, almost never appearing in the frame together, even as their fates become ever more intimately entwined.

Variety critic Todd McCarthy describes Chigurh's modus operandi : "Death walks hand in hand with Chigurh wherever he goes, unless he decides otherwise Occasionally, however, he will allow someone to decide his own fate by coin toss, notably in a tense early scene in an old filling station marbled with nervous humor.

Jim Emerson describes how the Coens introduced Chigurh in one of the first scenes when he strangles the deputy who arrested him: "A killer rises: Our first blurred sight of Chigurh's face As he moves forward, into focus, to make his first kill, we still don't get a good look at him because his head rises above the top of the frame.

His victim, the deputy, never sees what's coming, and Chigurh, chillingly, doesn't even bother to look at his face while he garrotes him.

Critic Peter Bradshaw of The Guardian stated that "the savoury, serio-comic tang of the Coens' film-making style is recognisably present, as is their predilection for the weirdness of hotels and motels".

But he added that they "have found something that has heightened and deepened their identity as film-makers: a real sense of seriousness, a sense that their offbeat Americana and gruesome and surreal comic contortions can really be more than the sum of their parts".

Geoff Andrew of Time Out London said that the Coens "find a cinematic equivalent to McCarthy's language: his narrative ellipses, play with point of view, and structural concerns such as the exploration of the similarities and differences between Moss, Chigurh and Bell.

Certain virtuoso sequences feel near-abstract in their focus on objects, sounds, light, colour or camera angle rather than on human presence Notwithstanding much marvellous deadpan humour, this is one of their darkest efforts.

Arne De Boever believes that there is a "close affinity, and intimacy even, between the sheriff and Chigurh in No Country for Old Men [which is developed] in a number of scenes.

There is, to begin with, the sheriff's voice at the beginning of the film, which accompanies the images of Chigurh's arrest. This initial weaving together of the figures of Chigurh and the sheriff is further developed later on in the film, when the sheriff visits Llewelyn Moss' trailer home in search for Moss and his wife, Carla Jean.

Chigurh has visited the trailer only minutes before, and the Coen brothers have the sheriff sit down in the same exact spot where Chigurh had been sitting which is almost the exact same spot where, the evening before, Moss joined his wife on the couch.

Like Chigurh, the sheriff sees himself reflected in the dark glass of Moss' television, their mirror images perfectly overlapping if one were to superimpose these two shots.

When the sheriff pours himself a glass of milk from the bottle that stands sweating on the living room table—a sign that the sheriff and his colleague, deputy Wendell Garret Dillahunt , only just missed their man—this mirroring of images goes beyond the level of reflection, and Chigurh enters into the sheriff's constitution, thus further undermining any easy opposition of Chigurh and the sheriff, and instead exposing a certain affinity, intimacy, or similarity even between both.

In an interview with Charlie Rose , co-director Joel Coen acknowledged that "there's a lot of violence in the book," and considered the violence depicted in the film as "very important to the story".

He further added that "we couldn't conceive it, sort of soft pedaling that in the movie, and really doing a thing resembling the book Los Angeles Times critic Kenneth Turan commented on the violence depicted in the film: "The Coen brothers dropped the mask.

They've put violence on screen before, lots of it, but not like this. Not anything like this. No Country for Old Men doesn't celebrate or smile at violence; it despairs of it.

But it's also clear that the Coen brothers and McCarthy are not interested in violence for its own sake, but for what it says about the world we live in As the film begins, a confident deputy says I got it under control, and in moments he is dead.

He didn't have anywhere near the mastery he imagined. And in this despairing vision, neither does anyone else. NPR critic Bob Mondello adds that "despite working with a plot about implacable malice, the Coen Brothers don't ever overdo.

You could even say they know the value of understatement: At one point they garner chills simply by having a character check the soles of his boots as he steps from a doorway into the sunlight.

By that time, blood has pooled often enough in No Country for Old Men that they don't have to show you what he's checking for.

Critic Stephanie Zacharek of Salon states that "this adaptation of Cormac McCarthy 's novel touches on brutal themes, but never really gets its hands dirty.

The movie's violence isn't pulpy and visceral, the kind of thing that hits like a fist; it's brutal, and rather relentless, but there are still several layers of comfortable distance between it and us.

At one point a character lifts his cowboy boot, daintily, so it won't be mussed by the pool of blood gathering at his feet No Country for Old Men feels less like a breathing, thinking movie than an exercise.

That may be partly because it's an adaptation of a book by a contemporary author who's usually spoken of in hushed, respectful, hat-in-hand tones, as if he were a schoolmarm who'd finally brought some sense and order to a lawless town.

Ryan P. Doom explains how the violence devolves as the film progresses. The strangulation in particular demonstrates the level of the Coens' capability to create realistic carnage-to allow the audience to understand the horror that violence delivers.

Chigurh kills a total of 12 possibly more people, and, curiously enough, the violence devolves as the film progresses.

During the first half of the film, the Coens never shy from unleashing Chigurh The devolution of violence starts with Chigurh's shootout with Moss in the motel.

Aside from the truck owner who is shot in the head after Moss flags him down, both the motel clerk and Wells's death occur offscreen.

Wells's death in particular demonstrates that murder means nothing. Calm beyond comfort, the camera pans away when Chigurh shoots Wells with a silenced shotgun as the phone rings.

He answers. It is Moss, and while they talk, blood oozes across the room toward Chigurh's feet. Not moving, he places his feet up on the bed and continues the conversation as the blood continues to spread across the floor.

By the time he keeps his promise of visiting Carla Jean, the resolution and the violence appear incomplete. Though we're not shown Carla Jean's death, when Chigurh exits and checks the bottom of his socks [boots] for blood, it's a clear indication that his brand of violence has struck again.

Richard Gillmore states that "the previous Coen brothers movie that has the most in common with No Country for Old Men is, in fact, Fargo In both movies, a local police officer is confronted with some grisly murders committed by men who are not from his or her town.

In both movies, greed lies behind the plots. Both movies feature as a central character a cold-blooded killer who does not seem quite human and whom the police officer seeks to apprehend.

Joel Coen seems to agree. In an interview with David Gritten of The Daily Telegraph , Gritten states that "overall [the film] seems to belong in a rarefied category of Coen films occupied only by Fargo , which Joel sighs.

There are parallels. The similarity to Fargo did occur to us, not that it was a good or a bad thing.

That's the only thing that comes to mind as being reminiscent of our own movies, [and] it is by accident.

Richard Corliss of Time magazine adds that "there's also Tommy Lee Jones playing a cop as righteous as Marge in Fargo ", [74] while Paul Arendt of the BBC stated that the film transplants the "despairing nihilism and tar-black humour of Fargo to the arid plains of Blood Simple.

Some critics have also identified similarities between No Country for Old Men and the Coens' previous film Raising Arizona , namely the commonalities shared by Anton Chigurh and the fellow bounty hunter Leonard Smalls.

For Richard Gillmore, it "is, and is not, a western. It takes place in the West and its main protagonists are what you might call westerners.

On the other hand, the plot revolves around a drug deal that has gone bad; it involves four-wheel-drive vehicles, semiautomatic weapons, and executives in high-rise buildings, none of which would seem to belong in a western.

William J. Devlin finesses the point, calling the film a "neo-western", distinguishing it from the classic western by the way it "demonstrates a decline, or decay, of the traditional western ideal The moral framework of the West The villains, or the criminals, act in such a way that the traditional hero cannot make sense of their criminal behavior.

Deborah Biancott sees a "western gothic The wanderer, the psychopath, Anton Chigurh, is a man who's supernaturally invincible.

Even the directors have weighed in. Joel Coen found the film "interesting in a genre way; but it was also interesting to us because it subverts the genre expectations.

Gillmore, though, thinks that it is "a mixing of the two great American movie genres, the western and film noir," which "reflect the two sides of the American psyche.

On the one hand, there is a western in which the westerner is faced with overwhelming odds, but between his perseverance and his skill, he overcomes the odds and triumphs.

In film noir, on the other hand, the hero is smart more or less and wily and there are many obstacles to overcome, the odds are against him, and, in fact, he fails to overcome them.

This genre reflects the pessimism and fatalism of the American psyche. It is a western with a tragic, existential, film noir ending.

One of the themes in the story involves the tension between destiny and self-determination.

According to Richard Gillmore, the main characters are torn between a sense of inevitability, "that the world goes on its way and that it does not have much to do with human desires and concerns", and the notion that our futures are inextricably connected to our own past actions.

Llewelyn Moss Josh Brolin wavers between immoral behavior such as taking money that doesn't belong to him, refusing to involve the police and placing his family in grave danger, and moral acts of courage such as returning to the scene of the shootout to give a dying man water, separating himself from his family and refusing the advances of a comely woman at a motel demonstrating a flexibility of principle, as well as desire to escape consequences and a fierce will to survive at all costs.

Anton Chigurh is the most amoral, killing those who stand in his way and ruling that a coin toss decides others' fate. The third man, Sheriff Ed Tom Bell, believes himself to be moral, but feels overmatched, however stalwart he might personally be, against the depravity that surrounds and threatens to overwhelm him.

Not only behavior, but position alters. One of the themes developed in the story is the shifting identity of hunter and hunted.

Scott Foundas stresses that everyone in the film plays both roles, [83] while Judie Newman focuses on the moments of transition, when hunter Llewelyn Moss and investigator Wells become themselves targets.

The story contrasts old narratives of the "Wild West" with modern crimes, suggesting that the heroes of old can at best hope to escape from rather than to triumph over evil.

Devlin explores the narrative of Sheriff Ed Tom Bell, an aging Western hero, symbolic of an older tradition, who does not serve an underpopulated "Wild West", but an evolved landscape with new breeds of crime which baffle him.

The reception to the film's first press screening in Cannes was positive. Screen International ' s jury of critics, assembled for its daily Cannes publication, all gave the film three or four marks out of four.

The magazine 's review said the film fell short of 'the greatness that sometimes seems within its grasp'. But it added that the film was 'guaranteed to attract a healthy audience on the basis of the track record of those involved, respect for the novel and critical support.

The film subsequently increased the number of theaters to 2, It was the 5th highest ranking film at the US box office in the weekend ending December 16, The only extras are three behind-the-scenes featurettes.

Website Blu-ray. Color vibrancy, black level, resolution and contrast are reference quality Every line and wrinkle in Bell's face is resolved and Chigurh sports a pageboy haircut in which every strand of hair appears individually distinguishable.

No other film brings its characters to life so vividly solely on the merits of visual technicalities Watch the nighttime shoot-out between Moss and Chigurh outside the hotel As bullets slam through the windshield of Moss's getaway car, watch as every crack and bullet hole in the glass is extraordinarily defined.

The audio quality earned an almost full mark, where the "bit 48 kHz lossless PCM serves voices well, and excels in more treble-prone sounds Perhaps the most audibly dynamic sequence is the dawn chase scene after Moss returns with water.

Close your eyes and listen to Moss's breathing and footsteps as he runs, the truck in pursuit as it labors over rocks and shrubs, the crack of the rifle and hissing of bullets as they rip through the air and hit the ground Kenneth S.

Brown of website High-Def Digest stated that "the Blu-ray edition of the film However, to my disappointment, the slim supplemental package doesn't include a much needed directors' commentary from the Coens.

It would have been fascinating to listen to the brothers dissect the differences between the original novel and the Oscar-winning film.

It may not have a compelling supplemental package, but it does have a striking video transfer and an excellent PCM audio track. It was presented in 2.

This release included over five hours of new bonus features although it lacks deleted scenes and audio commentary. Javier Bardem, in particular, has received considerable praise for his performance in the film.

Peter Bradshaw of The Guardian called it "the best of the [Coens'] career so far". Richard Corliss of Time magazine chose the film as the best of the year and said that "after two decades of being brilliant on the movie margins, the Coens are ready for their closeup, and maybe their Oscar ".

Scott of The New York Times stated that "for formalists — those moviegoers sent into raptures by tight editing, nimble camera work and faultless sound design — it's pure heaven.

Both praised the film for its visual language and suspense, David commenting that "Hitchcock wouldn't have done the suspense better".

Occasional disapproval was voiced, with some critics noting the absence of a "central character" and "climactic scene"; its "disappointing finish" and "dependen[ce] on an arbitrarily manipulated plot"; or a general lack of "soul" and sense of "hopelessness".

Each of the figures is given, a la standard thriller operating procedure, a single moral or psychological attribute and then acts in accordance to that principle and nothing else, without doubts, contradictions or ambivalence.

Javier Bardem became the first Spanish actor to win an Oscar. He dedicated the award to Spain and to his mother, actress Pilar Bardem , who accompanied him to the ceremony.

While accepting the award for 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 a Super 8 film they made titled " Henry Kissinger : Man on the Go".

We're very thankful to all of you out there for continuing to let us play in our corner of the sandbox. The film appeared on more critics' top ten lists than any other film of , and was more critics' No.

From Wikipedia, the free encyclopedia.

Mar 28, - ikhp-mtb.se No Country for Old Men (), Platz (IMDB): IMDb-History: Über die Links in den Spalten Platz und Film gelangt man zu weiteren No Country for Old Men, , 8,1. IMDb-History: Über die Links in den Spalten Platz und Film gelangt man zu weiteren No Country for Old Men, , 8,2.

No Country For Old Men Imdb Video

No Country For Old Men: Non ce pays n'est pas pour le vieil homme (VF)

Meanwhile, the laconic Sheriff Ed Tom Bell Tommy Lee Jones blithely oversees the investigation even as he struggles to face the sheer enormity of the crimes he is attempting to thwart.

Written by Kenneth Chisholm kchishol rogers. Fargo, had its quirky character and its grotesque moments, but this film is all about a subdued natured intermixed with quick action.

For what I expected, I got some of it, but also a bit more of a subdued air and timing than I expected. It would do things in spurts, action at the beginning then a lull and more thunder.

It worked great for keeping one on edge, which Brolin did, excellently in the lead role lying awake thinking too hard.

Jones too was good in a strong supporting role as a close to retirement sheriff who is on the outside shaking his head at the carnage and mayhem unleashed by the simple finding and taking of a satchel full of money.

The real gem and glue of the film though is Javier Bardem's menacing character who has his own brand of justice, which is extremely harsh and well insane.

Even the one who claims to know him cannot even begin to stop or even slow him down. Bardem whom I have not had the pleasure of seeing in anything before is gold and like no other before looks to have the supporting actor award locked up in this performance.

His presence is felt, even when he does not show up. I cannot really describe the film that well so I will suffice to say that is best modern western tale I have seen since The Three Burials of Melquiades, which also happened to have Tommy Lee Jones and was directed by him to boot.

Another thing I noted was the lack of strong score. The filmmakers just seemed to let the sounds of the creaking boots and the desert landscape speak for the film.

It felt natural and a bit menacing. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates.

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Rate This. Violence and mayhem ensue after a hunter stumbles upon a drug deal gone wrong and more than two million dollars in cash near the Rio Grande.

Directors: Ethan Coen , Joel Coen. Watch on Prime Video included with Prime. Added to Watchlist. From metacritic. What's New on Prime Video in June.

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Use the HTML below. Ellis clarifies that the region has always been violent. Weeks later, Carla Jean returns from her mother's funeral to find Chigurh waiting in her bedroom, as per his threat to Moss.

She refuses his offer of a coin toss for her life, stating that he cannot pass blame to luck: the choice is his.

Chigurh checks his boots as he leaves the house. As he drives through the neighborhood, a car crashes into his at an intersection and Chigurh is injured.

He bribes two young witnesses for their silence and flees. Now retired, Bell shares two dreams with his wife. In the first, he lost some money his father had given him.

In the other, he and his father were riding through a snowy mountain pass; his father had gone ahead to make a fire in the darkness and wait for Bell.

The role of Llewelyn Moss was originally offered to Heath Ledger , but he turned it down to spend time with his newborn daughter Matilda.

Josh Brolin was not the Coens' first choice, and enlisted the help of Quentin Tarantino and Robert Rodriguez to make an audition reel.

His agent eventually secured a meeting with the Coens and he was given the part. Javier Bardem nearly withdrew from the role of Anton Chigurh due to issues with scheduling.

English actor Mark Strong was put on standby to take over, but the scheduling issues were resolved and Bardem took on the role.

Producer Scott Rudin bought the film rights to McCarthy's novel and suggested an adaptation to the Coen brothers , who at the time were attempting to adapt the novel To the White Sea by James Dickey.

Joel Coen said that the book's unconventional approach "was familiar, congenial to us; we're naturally attracted to subverting genre. We liked the fact that the bad guys never really meet the good guys, that McCarthy did not follow through on formula expectations.

The Coens' script was mostly faithful to the source material. On their writing process, Ethan said, "One of us types into the computer while the other holds the spine of the book open flat.

As explained by Kelly Macdonald, "the ending of the book is different. She reacts more in the way I react.

She kind of falls apart. In the film she's been through so much and she can't lose any more. It's just she's got this quiet acceptance of it.

Richard Corliss of Time stated that "the Coen brothers have adapted literary works before. But No Country for Old Men is their first film taken, pretty straightforwardly, from a [contemporary] prime American novel.

The writing is also notable for its minimal use of dialogue. Josh Brolin discussed his initial nervousness with having so little dialogue to work with:.

I mean it was a fear, for sure, because dialogue, that's what you kind of rest upon as an actor, you know? Drama and all the stuff is all dialogue motivated.

You have to figure out different ways to convey ideas. You don't want to overcompensate because the fear is that you're going to be boring if nothing's going on.

You start doing this and this and taking off your hat and putting it on again or some bullshit that doesn't need to be there.

So yeah, I was a little afraid of that in the beginning. Peter Travers of Rolling Stone praised the novel adaptation. Good and evil are tackled with a rigorous fix on the complexity involved.

Director Joel Coen justified his interest in the McCarthy novel. Because you only saw this person in this movie making things and doing things in order to survive and to make this journey, and the fact that you were thrown back on that, as opposed to any dialogue, was interesting to us.

Coen stated that this is the brothers' "first adaptation". He further explained why they chose the novel: "Why not start with Cormac?

Why not start with the best? He believed that the author liked the film, while his brother Ethan said, "he didn't yell at us.

The title is taken from the opening line of 20th-century Irish poet William Butler Yeats ' poem " Sailing to Byzantium ": [32].

That is no country for old men. Caught in that sensual music all neglect Monuments of unageing intellect. Richard Gillmore relates the Yeats poem to the Coens' film.

It is also a lament for the way the young neglect the wisdom of the past and, presumably, of the old Yeats chooses Byzantium because it was a great early Christian city in which Plato's Academy , for a time, was still allowed to function.

The historical period of Byzantium was a time of culmination that was also a time of transition. In his book of mystical writings, A Vision , Yeats says, 'I think that in early Byzantium, maybe never before or since in recorded history, religious, aesthetic, and practical life were one, that architect and artificers It is an ideal rarely realized in this world and maybe not even in ancient Byzantium.

Certainly within the context of the movie No Country for Old Men , one has the sense, especially from Bell as the chronicler of the times, that things are out of alignment, that balance and harmony are gone from the land and from the people.

Craig Kennedy adds that "one key difference is that of focus. The novel belongs to Sheriff Bell.

Each chapter begins with Bell's narration, which dovetails and counterpoints the action of the main story. Though the film opens with Bell speaking, much of what he says in the book is condensed and it turns up in other forms.

Also, Bell has an entire backstory in the book that doesn't make it into the film. The result is a movie that is more simplified thematically, but one that gives more of the characters an opportunity to shine.

Jay Ellis elaborates on Chigurh's encounter with the man behind the counter at the gas station. Where the book describes the setting as 'almost dark', the film clearly depicts high noon: no shadows are notable in the establishing shot of the gas station, and the sunlight is bright even if behind cloud cover.

The light through two windows and a door comes evenly through three walls in the interior shots. But this difference increases our sense of the man's desperation later, when he claims he needs to close and he closes at 'near dark'; it is darker, as it were, in the cave of this man's ignorance than it is outside in the bright light of truth.

In advance of shooting, 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'm imagining doing it very edgy and dark, and quite sparse.

Not so stylized. It's that order of planning. And we only shot , feet, whereas most productions of that size might shoot , or a million feet of film.

It's quite precise, the way they approach everything. We never use a zoom," he said. You're actually getting closer to somebody or something.

It has, to me, a much more powerful effect, because it's a three-dimensional move. A zoom is more like a focusing of attention.

You're just standing in the same place and concentrating on one smaller element in the frame. Emotionally, that's a very different effect.

In a later interview, he mentioned the "awkward dilemma [that] No Country certainly contains scenes of some very realistically staged fictional violence, but We were aware of those similarities, certainly.

Director Joel Coen described the process of film making: "I can almost set my watch by how I'm going to feel at different stages of the process.

It's always identical, whether the movie ends up working or not. I think when you watch the dailies, the film that you shoot every day, you're very excited by it and very optimistic about how it's going to work.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away.

And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

After watching this foolhardy but physically gifted and decent guy escape so many traps, we have a great deal invested in him emotionally, and yet he's eliminated, off-camera, by some unknown Mexicans.

He doesn't get the dignity of a death scene. The Coens have suppressed their natural jauntiness. They have become orderly, disciplined masters of chaos, but one still has the feeling that, out there on the road from nowhere to nowhere, they are rooting for it rather than against it.

Josh Brolin discussed the Coens' directing style in an interview, saying that the brothers "only really say what needs to be said.

They don't sit there as directors and manipulate you and go into page after page to try to get you to a certain place.

They may come in and say one word or two words, so that was nice to be around in order to feed the other thing.

I'll just watch Ethan go humming to himself and pacing. Maybe that's what I should do, too. Maybe it was because we both [Brolin and Javier Bardem ] thought we'd be fired.

With the Coens, there's zero compliments, really zero anything. No 'nice work. And then—I'm doing this scene with Woody Harrelson.

Woody can't remember his lines, he stumbles his way through it, and then both Coens are like, 'Oh my God! We tried to give it the same feeling.

The Coens minimized the score used in the film, leaving large sections devoid of music. The concept was Ethan's, who persuaded a skeptical Joel to go with the idea.

There is some music in the movie, scored by the Coens' longtime composer, Carter Burwell , but after finding that "most musical instruments didn't fit with the minimalist sound sculpture he had in mind Sound editing and effects were provided by another longtime Coens collaborator, Skip Lievsay , who used a mixture of emphatic sounds gun shots and ambient noise engine noise, prairie winds in the mix.

The Foley for the captive bolt pistol used by Chigurh was created using a pneumatic nail gun. Anthony Lane of The New Yorker states that "there is barely any music, sensual or otherwise, and Carter Burwell's score is little more than a fitful murmur", [47] and Douglas McFarland states that "perhaps [the film's] salient formal characteristic is the absence, with one telling exception, of a musical soundtrack, creating a mood conducive to thoughtful and unornamented speculation in what is otherwise a fierce and destructive landscape.

But it is there, telling our unconscious that something different is occurring with the toss; this becomes certain when it ends as Chigurh uncovers the coin on the counter.

The deepest danger has passed as soon as Chigurh finds and Javier Bardem's acting confirms this and reveals to the man that he has won. Dennis Lim of The New York Times stressed that "there is virtually no music on the soundtrack of this tense, methodical thriller.

Long passages are entirely wordless. In some of the most gripping sequences what you hear mostly is a suffocating silence.

The idea here was to remove the safety net that lets the audience feel like they know what's going to happen.

I think it makes the movie much more suspenseful. You're not guided by the score and so you lose that comfort zone.

James Roman observes the effect of sound in the scene where Chigurh pulls in for gas at the Texaco rest stop.

As the scene opens in a long shot, the screen is filled with the remote location of the rest stop with the sound of the Texaco sign mildly squeaking in a light breeze.

The sound and image of a crinkled cashew wrapper tossed on the counter adds to the tension as the paper twists and turns. The intimacy and potential horror that it suggests is never elevated to a level of kitschy drama as the tension rises from the mere sense of quiet and doom that prevails.

Jeffrey Overstreet adds that "the scenes in which Chigurh stalks Moss are as suspenseful as anything the Coens have ever staged. And that has as much to do with what we hear as what we see.

No Country for Old Men lacks a traditional soundtrack, but don't say it doesn't have music. The blip-blip-blip of a transponder becomes as frightening as the famous theme from Jaws.

The sound of footsteps on the hardwood floors of a hotel hallway are as ominous as the drums of war. When the leather of a briefcase squeaks against the metal of a ventilation shaft, you'll cringe, and the distant echo of a telephone ringing in a hotel lobby will jangle your nerves.

While No Country for Old Men is a "doggedly faithful" adaptation of McCarthy's novel and its themes, the film also revisits themes which the Coens had explored in their earlier movies Blood Simple and Fargo.

Still, the Coens open the film with a voice-over narration by Tommy Lee Jones who plays Sheriff Ed Tom Bell set against the barren Texas country landscape where he makes his home.

His ruminations on a teenager he sent to the chair explain that, although the newspapers described the boy's murder of his year-old girlfriend as a crime of passion, "he told me there weren't nothin' passionate about it.

Said he'd been fixin' to kill someone for as long as he could remember. Said if I let him out of there, he'd kill somebody again.

Said he was goin' to hell. Reckoned he'd be there in about 15 minutes. And their impact has been improved upon in the delivery.

When I get the DVD of this film, I will listen to that stretch of narration several times; Jones delivers it with a vocal precision and contained emotion that is extraordinary, and it sets up the entire film.

In The Village Voice , Scott Foundas writes that "Like McCarthy, the Coens are markedly less interested in who if anyone gets away with the loot than in the primal forces that urge the characters forward In the end, everyone in No Country for Old Men is both hunter and hunted, members of some endangered species trying to forestall their extinction.

New York Times critic A. Scott observes that Chigurh, Moss, and Bell each "occupy the screen one at a time, almost never appearing in the frame together, even as their fates become ever more intimately entwined.

Variety critic Todd McCarthy describes Chigurh's modus operandi : "Death walks hand in hand with Chigurh wherever he goes, unless he decides otherwise Occasionally, however, he will allow someone to decide his own fate by coin toss, notably in a tense early scene in an old filling station marbled with nervous humor.

Jim Emerson describes how the Coens introduced Chigurh in one of the first scenes when he strangles the deputy who arrested him: "A killer rises: Our first blurred sight of Chigurh's face As he moves forward, into focus, to make his first kill, we still don't get a good look at him because his head rises above the top of the frame.

His victim, the deputy, never sees what's coming, and Chigurh, chillingly, doesn't even bother to look at his face while he garrotes him.

Critic Peter Bradshaw of The Guardian stated that "the savoury, serio-comic tang of the Coens' film-making style is recognisably present, as is their predilection for the weirdness of hotels and motels".

But he added that they "have found something that has heightened and deepened their identity as film-makers: a real sense of seriousness, a sense that their offbeat Americana and gruesome and surreal comic contortions can really be more than the sum of their parts".

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