🕹️ No Country For Old Men Analiz

Andin the dream I knew that he was goin on ahead and that he was fixin to make a fire somewhere out there in all that dark and all that cold and I knew that whenever I got there he would be there. And then I woke up.”. ― Cormac McCarthy, No Country for Old Men. tags: darkness , hopeful , mystery , prophetic. The above article (No Country For Old Men) is republished by contribution with attribution to the author Bill the Butcher and The Butcher Shop. About The Author: Bill the Butcher is the purveyor of The Butcher Shop which is a collection of independent writers ranging from journalists to op/ed, from conservative to liberal. Whatever cut of Chapter11 Summary. Bell tracks down Llewelyn Moss’ father and tells him about how Llewelyn died. His father says that Llewelyn was a sniper in Vietnam and the best shot he ever knew, and that it was impossible for him to be involved with drugs. Bell agrees that Llewelyn didn’t have anything to do with drugs or drug dealing. NoCountry for Old Men Chapter 1–2 Analysis. to get full document. to get full document. Every part in the novel contains in any event three unlabeled and untitled areas; each is told from an alternate character’s perspective. The principal segment in every part is constantly a stressed portrayal by Sheriff Ed Tom Ringer, and this area is No Country for Old Men Script Analysis. No Country for Old Men is arguably one of the best adapted screenplays of all time for its ability to retain and stay true to the best parts of Cormac McCarthy’s novel. In our next article, we dive deeper into the film’s complete script including the characters, themes, and memorable ending. Directed by brothers Joel and Ethan Coen, No Country For Old Men is an existential film as it reveals the idea of the existential concept of absurdity — anything may happen to anyone at anytime without any rational explanation. The three protagonists in the film, Llewellyn Moss, Anton Chigurh, and Ed Tom Bell, all experiences certain Analysisof Movie: No Country for Old Men (2007) No Country for Old Men is a crime film as well as a meditation on chance and destiny, a meditation on growing old and on dying young. This movie is borrowed from the novel by Cormac McCarthy. In this movie, wrongs are done and there ltodixn. BuzzÂPosted on Oct 9, 2007The newest Coen brothers' newest film is grim and bloody and being called one of their best. People are talking a lot about Javier Bardem's ridiculous haircut in the movie, too, but that's kind of beside the point. Editorial note Whoa! You've found a super-old post here on BuzzFeed, from an earlier era of the site. It doesn't really represent where we are anymore, and may in fact be totally broken, but we're leaving it up as a part of our early history. BuzzFeed DailyKeep up with the latest daily buzz with the BuzzFeed Daily newsletter! BEWARE; spoilers for the 2007 film below! In 2005, acclaimed writer Cormac McCarthy released a novel titled NO COUNTRY FOR OLD MEN. A mere two years later, filmmakers Joel and Ethan Coen adapted the work for the big screen. Upon its release, the film was acclaimed by both audiences and critics and would go onto win an abundance of awards. Today, the film is often considered one of the greatest films of the 21st century; here is why. No Country For Old Men 2007 Cinematography by Roger Deakins A Cat-And-Mouse Game At the beginning of the film, we find Sheriff Bell, played by Tommy Lee Jones, reflecting on the old-timers who used to be in the police force. Bell ponders the fact that he has been sheriff in Terrell County, Texas, since the age of 25. He remains pensive throughout the film for he seems perplexed by the continuous presence of violence in his town. It is as though he was expecting his role as a sheriff to make more of an impact on humankind. If the violence in his community is increasing, what change did Bell truly bring as sheriff? READ Check out our analysis of the 1947 film noir LADY IN THE LAKE, here! With this, Tommy Lee Jones’ character is often perceived as one that is on the outside looking in. He never interacts with the primary antagonist, Anton Chigurh, who is played by the phenomenal Javier Bardem. As a result, Bell and his partner, Deputy Wendell, embark on a cat-and-mouse chase with an elusive villain. Their inability to capture Chigurh prompts doubt. How does one capture an enemy that operates like a ghost, a haunting? The task of bringing this killer in begins to lose objective when it becomes increasingly difficult to find this intangible figure. “Alright. What we circulate? Lookin’ for a man who has recently drunk milk?” – Sheriff Ed Tom Bell Anton Chigurh has often been perceived as a personification of evil. He lacks any trace of empathy and operates solely to fulfill his personal ambitions. With this, Bell’s role in chasing Chigurh parallels his own struggles in comprehending evil in the modern context. He struggles to understand the motives behind the violence, a struggle that deepens with Chigurh’s unpredictability. The Milkman Dollars and Sense Initially, money seems to motivate Anton Chigurh as he chases Josh Brolin’s Llewelyn Moss to retrieve the two million dollars Moss took after finding it in a truck with a dying man. At that moment, the dying man disregards the significant amount of cash right next to him. Instead, he begs Moss’ character for water, for he is on the brink of death. Money initially appears to be the crux that holds the plot of the film together. However, as the narrative moves forward, we come to realize that money lacks value to these characters. This motif is exemplified in the final sequence of the film when Bell discusses two dreams he had with his wife. READ Love Westerns? Read ComicsVerse’s analysis of the 2016 remake, THE MAGNIFICENT SEVEN! The first one he relays involves Bell losing some money his father had given him, but he is unsure if he truly lost the money or not. After Bell narrates this dream, he immediately segues into the next one. He brushes off this dream as insignificant for the presence of money lacks importance regarding his second dream, a dream discussed later in this article. Though Chigurh and Bell embody distinct narratives in the film, they share similar perceptions on money. Though the majority of the first half of the film depicts Chigurh tracking Moss down to retrieve the cash, one sequence between the two exhibits a shift in Chigurh’s motivations. In this sequence, Chigurh relays to Moss over the phone that he intends on killing Moss whether or not he retrieves the money. Javier Bardem as Anton Chigurh The Grim Reaper Anton Chigurh appears apathetic, never seeking incentive for his crimes. He seemingly operates without an objective and kills without remorse. Chigurh even goes out of his way to shoot and kill a crow for no particular reason. Historically, crows have been known to be symbols of death. So, to depict Chigurh nonchalantly killing a symbol of death showcases his authority over death. One can argue that Chigurh simply enjoys killing and this bloodlust is what motivates him. However, it was difficult to determine if he enjoys the act since he maintains such a detached character. READ How does Hollywood make more films like NO COUNTRY FOR OLD MEN? Check out ComicsVerse’s perspective on the abundance of modern-day remakes and sequels, here! In my point of view, I believe Anton Chigurh enjoys the control of holding another man’s life in his hands. Life operates through random events, so no one is capable of controlling their fate or the fate of others. With this, Chigurh manipulates fate by taking the fates of others into his own hands. He breaks the cycle of randomness by personally determining the end of one’s life. Because of this, money and material things lack value in comparison to this overlying power. “He’s a psychopathic killer, but so what? There’s plenty of them around.” – Deputy Wendell Josh Brolin as Llewelyn Moss Penny For Your Thoughts If money is not the crux that holds the film together, then one can argue that the crux is death. The deaths portrayed in NO COUNTRY FOR OLD MEN are random and, at times, anticlimactic. The death of Llewelyn Moss, by Chigurh’s hand, occurs off-screen. The only way the audience becomes aware of his murder is within the depiction of his dead body. It is intriguing that a primary character has such an insignificant send-off. However, this may be a way to further the desensitization to violence in Sheriff Bell’s town. In another sequence, he relays to Deputy Wendell a story about a crime he had previously investigated. Wendell begins to laugh in response to the absurdity of the crime, to which Bell responds that he too has found humor in past horrific events. This sequence seems to imply that laughter is a response to a lack of understanding. Throughout his career, Bell has struggled to understand the motives of violence, despite the fact that he has been obligated to face violence for most of his career. “I always figured when I got older, God would sorta come into my life somehow.” – Sheriff Ed Tom Bell READ Will DUNKIRK join NO COUNTRY FOR OLD MEN as a Best Picture winner? Check out ComicsVerse’s analysis of Christopher Nolan’s masterpiece, here! He struggles to come to terms with the fact that his life’s work has failed to reveal any insight into evil. Along with this, he struggles to realize that his career has failed to inspire change in humankind. People are still evil and continue to do evil things. Because of this, he ultimately wonders if he served any purpose as a sheriff. This perspective is certainly a nihilistic one, particularly when you consider the randomness by which Chigurh operates and the anticlimactic nature of Moss’ death. Tommy Lee Jones as Sheriff Bell Your Lucky Coin The first half of the film features an intriguing, albeit uncomfortable, interaction between Chigurh and the owner of a gas station. In the scene, Chigurh offers the gas station owner a chance to control his fate by allowing him to call a coin toss. The gas station owner calls the correct side of the coin, which prompts Chigurh to spare his life. Chigurh then informs the man to put the coin in any other place besides his pocket, for the coin is his lucky coin. By putting the coin back in his pocket, it will get lost in the other coins, losing its significance. However, Chigurh goes on to contradict himself when he says, “…It’ll get mixed in with the others and become just a coin. Which it is.” In this scene, Chigurh permits the randomness of life to exhibit its authoritative nature. The gas station owner may perceive the coin as the object that dictated his fate when in reality it was mere chance, which is what Chigurh reminds the gas station owner of when he remarks that the coin is not that special. READ Want to check out another work that has a neo-Western edge? Read our review for WYNONNA EARP SEASON ZERO 1! Throughout the film, randomness appears to be a confidant of Chigurh, operating in his favor. This relationship abruptly changes in the final moments of the film, when a car rams into Chigurh’s own vehicle. Upon my first viewing of NO COUNTRY FOR OLD MEN, I thought Sheriff Bell was the one responsible for the accident, expecting him to lock Chigurh up and end the cat-and-mouse game. I was wrong. An ending to ponder Back In Older Times A few young boys serve as witnesses to Chigurh’s accident. He pays the boys off, telling them to inform others that he was not present at the scene of the accident. He then stumbles off, most likely continuing his dark path. No one captures the heartless, murdering Anton Chigurh. There is no climactic fight between him and the hero of the film. Rather, he escapes, slightly inconvenienced by the idiocy of a random driver. No justice, no closure. Sheriff Bell’s second dream seems to reference the film’s overlying lack of closure. In the dream, Bell follows his father, who is holding onto an illuminated horn, through the dark. Since NO COUNTRY FOR OLD MEN’s release, there have been a variety of interpretations of this final monologue. Perhaps it exemplifies the infinite nature of evil and crime, which people such as Bell and his father will continue attempting to alleviate. Maybe it showcases a justification of Bell’s retirement, exemplified at the moment where he abruptly awakes from his dream. The dream may imply that Bell should no longer uphold his duty, for his work has proved only to be futile. “I could see the horn from the light inside of it – about the color of the moon. And in the dream I knew that he was goin’ on ahead and he was fixin’ to make a fire somewhere out there in all that dark and all that cold. And I knew that whenever I got there, he’d be there. Then I woke up.” – Sheriff Ed Tom Bell One can discuss the facets of NO COUNTRY FOR OLD MEN for ages. It is a rich, multi-faceted film that audiences should continue to discuss because ultimately, there is no way to truly know what the film is attempting to convey to us. All we know is what we derive from the characters and the narrative. So, I suppose this begs the question of why we bother to interpret a film such as this in the first place. In 2007, writer/director duo Joel and Ethan Coen released No Country for Old Men, an adaptation of Cormac McCarthy's celebrated novel of the same name. It quickly became heralded as one of the best pieces of work in their already stellar career, earning numerous accolades, including the 2008 Academy Award for Best Picture. In recent years, retrospective viewers have dubbed the film one of the best to come out of the 2000s. It's no wonder movie-watchers flock to it to this day, whether they're die-hard Coen fans or cinematic newbies. No Country for Old Men is, in many ways, a straightforward crime drama. It follows a man who stumbles onto a drug deal gone bad and tries to get away with a case full of money as a hitman and a sheriff both pursue him. As the film goes on, though, various ambiguities emerge, culminating in an ending fans are still dissecting to this day. With that in mind, this is the ending of No Country for Old Men, explained. Mexican fallout The catalyst for the events of No Country for Old Men comes when Llewelyn Moss stumbles upon the aftermath of a shootout in Texas while out poaching. Llewelyn finds and takes a satchel full of money from the shootout site. The story that follows is very tightly focused on just a few people caught up in the chaos that unfolds, which means we never really learn that much about who was at the shootout and why everything went bad. What we do know, based on the discussions major characters have about the shootout, is that it involved two major criminal organizations, one based in Mexico and the other based in the United States. While the film does briefly move south of the border, most of it unfolds from the American perspective, so we don't know which cartel or other group was moving the drugs across the border in the first place. They seem to have recouped their product to sell it again, but other than that, their future is unclear. There won't be a sequel to No Country for Old Men, but if there was, it might focus on the future of the Mexican cartel and its drug supply, what they plan to do with it, and how they might retaliate against their counterparts on the other side of the border. Texas fallout Viewers know the Mexican half of the drug deal went badly wrong, but it's clear from the events of the film that the other side may be much worse off by the time the dust settles. On the American side, the organization attempting to buy the drugs has neither the drugs they wanted nor the money they planned to spend after Llewelyn made off with it, putting them in a bind from the beginning. Then, to make matters worse, Anton Chigurh launches his own reign of terror against them that seems to go all the way up to the top. We don't know if the man who sends hitman Carson Wells to go after Chigurh and recover the money was at the very top of the organization, but he was clearly a key part of the leadership, and by the end of the film he too is dead. It's possible there's now a headless criminal enterprise in Texas trying to scatter to avoid law enforcement, or regroup and continue operating. We don't get to see the full fallout here, either, but it won't be pretty. The next sheriff Much of No Country for Old Men follows Sheriff Ed Tom Bell as he becomes increasingly concerned about his place in the world as an aging lawman, heir to a family legacy of Texas law enforcement. The deeper Bell gets into the situation involving Moss, Chigurh, the drug deal gone bad, and the missing money, the more concerned he is about the future. At one point he flat-out says that he just feels "overmatched," and worries that the violence around him is escalating in a way he can't contend with. He notes that many lawmen in his area used to go without even carrying guns, and now that feels outdated. By the end of the film, Ed Tom is retired, his sense of law and order upended by the Moss affair, which means someone else now has to follow in his footsteps and become the next sheriff. Whether that's his deputy Wendell or someone else, Bell will no doubt have some standing in his community as a kind of elder statesman. He's not just going to hole up in his house and never talk to anyone, so we're left to wonder Now that his state of mind is forever changed, how will he react when the next sheriff comes asking for advice? Will he have any wisdom to share, or does he feel that era is past for him? Chigurh's fate For much of No Country for Old Men, hitman Anton Chigurh feels like an unstoppable killing machine. Even after Moss manages to shoot him during the firefight in Eagle Pass, Chigurh is still able to calmly and methodically stage an explosion that allows him to rob a pharmacy, then patch himself up with frightening efficiency and care. By the end of the film we feel that even if other characters manage to hurt him, they can't stop him. But Chigurh is brought low in the final minutes, not by a bullet, but by a car accident that breaks his arm and leaves him bloodied and hobbled in the middle of an Odessa neighborhood. When we last see him, Chigurh has just bribed a group of boys to keep their mouths shut — but do we really believe they'll never tell a soul? Is this accident the thing that finally makes Chigurh vulnerable enough to be brought down, or will he simply set his own arm and live to kill another day? The car accident seems to be the only thing that truly rattles him in the whole film, so it's hard to tell. The case full of money The MacGuffin at the center of No Country for Old Men is a satchel containing more than $2 million originally meant to purchase a pickup truck full of drugs. We watch as the money changes hands from the dead drug dealers to Llewelyn Moss, and then finally end up with Anton Chigurh, who takes it from Moss' hotel room after killing him. So, what happens to the money after that? We know that a tracking device was placed in it from the very beginning to keep tabs on its whereabouts, but Moss destroyed that. We also know that Chigurh was still able to hunt Moss down without the tracker, and Chigurh didn't exactly disappear quietly. Will his surviving former employers still manage to track him down, or will Chigurh use the money just enough to make himself disappear? If anyone can manage to hide himself and $2 million in plain sight, it's probably Anton Chigurh. Other killers Midway through the film, desperate to track down Chigurh and reclaim the money he stole after killing two of his associates, a man in an office building hires Carson Wells to seek out Moss and get the money back before Chigurh can. Wells, a savvy contract killer in his own right, is familiar enough with Chigurh to know how dangerous he is, and smart enough to try to get to the money without directly involving his colleague. Chigurh finds him anyway, and kills him on principle. If the organization that hired Wells is still trying to track down Chigurh and the money after the film ends, there's a good chance they'll be seeking out other hired killers, and possibly sending more than one in a kind of competition to see who can finally bag Chigurh. It's easy to imagine each of these men trying different approaches, and it's also easy to imagine Chigurh killing every single one of them, but perhaps if the organization goes through enough contract killers, they can wear Chigurh down. The coin toss In attempting to describe Anton Chigurh to Llewelyn Moss, Carson Wells says that he has "principles that transcend money or drugs or anything like that." We see these principles come into play in very specific ways twice in the film, when Chigurh pulls out a coin and asks his victim to call the toss. The first time he does this, with a gas station attendant, he plays a game of chance for the man's life because the man pried into his business. The man wins the toss and survives. The second time Chigurh makes use of a coin toss he's with Moss' wife, Carla Jean, but when he asks her to call the toss she refuses. In a fascinating insight into Chigurh's mind, we watch as he demands over and over again that she call the toss, and still Carla Jean refuses. She insists that the coin has nothing to do with it, and Chigurh responds "I got here the same way the coin did." The world as Chigurh sees it is something he needs to impose some form of order on. He believes in rules, to the point that he can only let fate decide things so much before it starts to drive him mad. His final words to Carla Jean are evidence that something in his past, perhaps some event beyond his control, shaped him in a profound way, and molded him into the instrument of order he now tries to be. "You can't stop what's coming" Near the end of the film, after he's found Llewelyn Moss dead and realized that the money is missing, Ed Tom Bell returns home to visit his uncle, a former lawman living in seclusion in a ramshackle house. Over the course of their conversation Ed Tom makes it clear that he feels he can't contend with the modern class of criminal. He feels like the world has passed him by, crime has grown too rampant, and there's no room in law enforcement for a quiet old man like him. Ellis responds with a certain degree of sympathy, but also tells him about a horrific crime from decades earlier that, while not quite on par with the massive drug shootout at the beginning of the film, still reminds Ed Tom that violence is nothing new. The world is a dark place, particularly if you devote your life to fighting on the side of the light. Ed Tom's uncle reminds him that "you can't stop what's coming," implying that all he can do is his best. Ed Tom seems to concede this point, but also feels the time is right to retire. The scene is a perfect encapsulation of the film's meditation on how violence preys upon the soul, and a reminder to the audience that it's not always the world that changes, but us. Ed Tom's dream No Country for Old Men is known for a great many things, but it's perhaps best known for its ambiguous final scene. Ed Tom Bell sits at his dining room table and tells his wife about a dream he had. In the dream, he and his father are riding on horseback through the night, and his father rides ahead of him carrying fire in a horn. Ed Tom is visibly anxious when describing the dream, and notes that his father was wordless, with his head down, as he rode ahead of him to make a fire. Ed Tom concludes by saying that he knew his father would be waiting up ahead, having made a fire in "all that cold and all that dark." With this, the dream and the film both end, leaving some viewers scratching their heads. In the context of the rest of the film, as Ed Tom reckons with his place in a world he feels has passed him by, the dream feels like the conclusion of a man who knows that death is the next milestone. He's already retired from the profession that his father did before him, his father's been dead for years, and so his subconscious is telling him that a reunion in the afterlife seems to lie ahead. But of course, Ed Tom did wake from the dream, which means perhaps he has a little bit of living left to do before that happens. Vasatlığa prim vermeyen Coen Kardeşler”in ”En İyi Film” dâhil olmak üzere 4 dalda Oscar ödülü kazandıkları filmleri “No Country ForOld Men / İhtiyarlara Yer Yok” 2007, alışılmışın dışında bir suç filmi olmasının yanı sıra birçok açıdan da Coen”ler sinemasının zirve noktalarından birisini oluşturur. Cormac McCarthy”nin aynı isimli romanından uyarlanan filmin sinematografisi, Hollywood”un önde gelen görüntü yönetmenlerinden Roger Deakins”ın imzasını taşır. Tommy Lee Jones ve Javier Bardem”in başarılı performanslarıyla da göz dolduran No Country For Old Men, gösterime girdiği yılın tartışmasız en çok dikkati çeken filmlerinden olmuştur. üç paralel çizgi Filmin sade bir Amerikan draması veya bir suç filmi olarak görünen ancak detaylandırıldığında oldukça kompleks bir yapısı mevcut. Dikkati çeken ilk nokta üç ana karakterin hiçbir şekilde aynı anda aynı mekanda bulunmamasıdır. Hepsi de birbirlerinin varlıklarından haberdardır ve durup dinlenmeden birbirlerinin izini sürerler. Birisinin yaptığı eylem, diğerleri için bir çekim ağırlığı oluşturur. Dolayısıyla üç paralel çizgide ilerleyen dengeli bir etkileşim mevzu bahistir. Fakat doludizgin sürüp giden kovalamacada karakterler hiç göz göze gelip diyalog kurmaz, karşılıklı oturmazlar. Birisinin ardında bıraktığı kaos, diğerinin konusunu oluşturur. Adeta bir tren misali, birisinin çıktığı vagona diğeri girer. En nihayetinde ise bu üç paralel çizgi, hiçbir surette kesişemeden kendi yollarına ayrılır. Bu noktada dikkat çekici bir diğer unsur da ana karakterlerin başına gelenlerin, filmin esas konusuyla pek fazla ilintili olmamasıdır. Evet, öykünün çizdiği portrede çatışan iki taraf aslında beceriksiz ve pasif Teksaslı kanun adamları ile çetin Meksikalı uyuşturucu mafyalarıdır. Alış veriş esnasında bir çatışma çıkmış, taraflar birbirlerini öldürmüş, parayı alıp kaçan da kan kaybından fazla uzaklaşamamıştır. Polis ise bu uyuşturucu alış verişinde bulunan mafyalara hiçbir şey yapamamıştır. Llewelyn, çantayı bulup kaçtığında, Anton Chigurh, Llewelyn”in peşine düştüğünde ya da atıyla çatışma yerini gezen Ed Tom, mevzunun iç yüzünü öğrendiğinde her şey çoktan olup bitmiş, filmin anlatacağı herhangi bir sözü kalmamıştır seyirciye. Bir ”kaos” veya tam tersine bir ”yaratılış” sonrasına odaklanan senaryo, filmin ilk yirmi dakikasından sonra üç ana karakterinin tahlillerini yapmaya koyulur. çünkü bu üç karakterin çizgisi aslında filmin esas sorunsalını vurgular İnsanlar paraya tamah ettiği müddetçe ahlakları yıkılır, tüm iyi yönleri silinip gider ve katil ile kurban arasındaki keskin hat silikleşip yok olur. Chigurh”unYaratılışı Filmin bir yaratılışın veya inşası halen devam eden yeni bir dünyanın kuruluşunun naif bir yorumu olduğunu pekâlâ iddia edebiliriz. Açılış sekansı, bu fikri doğrular niteliktedir. önce, film boyunca hiç kesilmeyen rüzgarın sesi işitilir, ardından Şerif Ed Tom Bell”in dış sesi devreye girer. Gençliğini hatırlar Ed Tom. Daha ilk cümlesiyle bir emekliliğin, bir yaşlanma sendromunun sıkıntısı hissedilir. Bu topraklarda şeriflik yapmaya başladığında 25 yaşında olduğunu belirtir yaşlı dış ses. Bu pek manidar cümle, bölgede ardı arkası kesilmeyen suçların sebebini kendisinde arayan bir adamın iç hesaplaşmasını da dikkate getirir. Ed Tom, 25 yaşından beri kanun adamlığı yaptığını, babasının, hatta dedesinin bile bir kanun adamı olduğunu, ama yine de insanın karanlık doğasını bir türlü değiştiremediklerini, bir türlü topraklarına suçsuz, huzurlu bir yaşamı getiremediklerini söyler gibidir adeta. Ed Tom”un dış sesine paralel bir biçimde önce ağır ağır doğan güneşin görüntüsü belirir, boş, bakir topraklarda gün doğuyordur. Ardından rüzgarın varlığını vurgulamak için bir yel değirmeni görüntüsü takip eder peyzajları. Diğer karede ise özel mülkiyetin, hudutların ve aidiyetin temsili olan dikenli çitler gösterilir. Bu ”yaratılış” anlamı taşıyan görüntülerden sonra tıpkı Ed Tom”un kendisi hakkında söylediği gibi 25 – 30 yaşlarında genç bir polis memuru, Anton Chigurh”u tutuklayıp karakola götürdüğü sahne başlar. Açılış sekansının neyin yaratılışı olduğu sorusuna Chigurh”un karakoldaki polis memurunu boğarak öldürdüğü ve bileğindeki kelepçelerden kurtulduğu sahne çok yalın bir şekilde cevap verir. Bu yaratılış, Anton Chigurh”un yaratılışıdır. Sıradan bir vatandaş şekline bürünüp insanların arasına karışmakta gecikmez ve önüne çıkan herkesi madeni parasıyla teste tutar. Şüphesiz madeni parayla yazı tura atarak kurbanlarının yaşayıp yaşamamasına karar vermesi para – ahlak ilişkisinin net bir ironisidir. Para ve Ahlak Filmde para, her kapıyı açabilen bir anahtar gibi gösterilir. Sadece Llewelyn için bu böyle değildir, elbette o, tıka basa dolu para çantasıyla öykünün en zengin karakteridir. Ancak önemsiz gibi duran birçok mizansende para veya pazarlık konusu gündeme geldiğinde herkesin acımasızlaşabildiği dile getirilir. örneğin Llewelyn, kanlar içinde Meksika sınırını geçerken gümrük memuruna takılmamak için karşısına çıkan gençlerden birisinin gömleğini ister. Genç ise, Llewelyn”in neredeyse kan kaybından ölmek üzere olduğuna aldırmadan gömleği için kendisine ne kadar ödeyeceğini sorar. Anton Chigurh da araba kazasından sonra kanlar içinde kaldırıma oturduğunda benzer bir yola başvurur, yanına gelen iki çocuktan birisine “Gömleğin için ne kadar istersin?” diye sorar. çocuğun pazarlık yapacak bir kabiliyeti yoktur belki ama Chigurh”un verdiği parayı arkadaşıyla paylaşmaya da yanaşmaz ve onunla tartışmaya başlar. Ed Tom da rüyasını karısına anlatırken para lafı eder, rüyasında parayı kaybettiği için babasının kendisini azarlayacağını, bu yüzden yanına gitmeye korktuğunu söyler. özetle, filmdeki karakterlerin hepsi, Anton Chigurh hariç, ”iyi” ve ”suçsuz” kişiler olmalarına rağmen paraya karşı zaafları vardır. Oysa ki Chigurh, öykünün tek ahlaklı karakteri olarak bu zafiyetten uzaktır. Onun prensipleri vardır, bu prensiplerin ötesindeki hiçbir şeyin, paranın bile, önemi yoktur. Yazı ve turanın verdiği kararlara bire bir uyar, tavizsidir ve yaptığı anlaşmalara sadık kalır. Meseleye bu açıdan bakıldığında Llewelyn elindeki para çantasıyla dur durak bilmeden kaçarak Chigurh”un zıt kişiliğine dönüşür. İşin ilginç yanı ise bu iki karakter arasındaki çatışma film boyunca heyecanla ilerlerken Llewelyn”i, paranın gerçek sahipleri olan Meksikalı mafyanın öldürmesi ve bu cinayette Chigurh”un hiçbir rolünün bulunmamasıdır. Tanrı ve Ed Tom Bell Her ne kadar filmin üç ana karakteri olsa da temelde tüm olaylar Şerif Ed Tom Bell hakkındadır. Gün doğumuyla başlayan film, kahvaltı masasında bir rüya anlatımıyla sona erer. Sanki tüm yaşananlar bir rüya, Anton ve Llewelyn ise Şerif”in birer ego ve id”idir. Adeta Ed Tom, rüyasında kendisini ikiye bölmüş, bir yanıyla Anton gibi ahlaklı ve acımasız olmayı, paraya tamah edenleri tereddüt etmeden öldürmeyi denemiş, diğer yanıyla da Llewelyn gibi özgürlüğün de temsili olan çantayı alıp kaçmayı, sınırların ötesine geçmeyi istemiştir. Bu rüyanın sonunda Llewelyn öldürülmüş, Anton da arabasıyla kaza yapıp ağır yaralanmış ve kazanan taraf kapitalist düzen olmuştur. Bu elbette ki bir yorum, ancak filme belli bir pencereden bakıldığında anlamlandırılabilecek bir yorum. Zaten finalde, Ed Tom masaya oturup karısına rüyasını anlatmaya başladığında bir değil birkaç tane rüya gördüğünü ve hepsinin de babası hakkında olduğunu söyleyerek böyle bir psikoanalitik okumaya açık kapı bırakır. Film boyuca ilerleyen öykü de aslında Ed Tom”un babasına dair bir rüyadır. Dikkat edilirse Ed Tom, Anton Chigurh”la Llewelyn öldükten sonra karşılaşma şansını yakalamış, her ikisi de birbirilerinin varlığını hissetmiş ancak yüzleşmekten kaçınmışlardır. Bu korkunun ve yüzleşmeyi reddedişin ardından Ed Tom”un babası Ellis”i ziyaret ettiği sahne gelir. çok sıradan gibi duran, yalın diyaloglarla ilerleyen sahnede tanrının, suçun ve adaletin sorgusu yapılır. Ed Tom”un yıllarca tanrıyla karşılaşmayı dilediği, sırf kendini iktidar sahibi bir kanun adamı olarak görmediği için emekli olmayı tercih ettiği öğrenilir. Korkuyordur, çünkü çaresizdir. Para ve ekonomik düzen insan ruhunu günden güne tahrip etmekte, onu çirkinleştirmektedir ve bir kanun adamı olarak Ed Tom”un bu durumu düzeltebilmek için elinden hiçbir şey gelmiyordur. Yapabileceği en doğru şey kendine yer bulamadığı bu düzenden kaçıp emekli olmaktır. Babası Ellis”in aksine Ed Tom oldukça pesimist ve sıkıntılıdır. Ed Tom, rüyasında babasıyla birlikte karanlık bir gecede dağlara doğru at koşturduğunu, derken babasının kendisine yolu tarif edip yanından ayrıldığını söyler. Ta ötelerde babasının bir meşale yaktığını, karlı soğuk geceye aldırmadan başka meşaleler yakmaya gittiğini gördüğünü belirtir. Tarif edilen yolu devam ettirdiğinde ise, yani dağın öte yanına ulaştığında, babasının kendisini orada bekleyeceğini biliyordur. Başlangıçta görsellikle kurulan yaratılış fikrinden sonra kapanıştaki dil ile kurulan ölüm hissi, Ed Tom”un içsel sürecini tamamlar. Ve sözünü “Derken uyandım!” diyerek bitirir. çünkü o, her ne kadar atalarının meşalelerini takip etse ve adalete yürekten inansa da dünya, paranın yarattığı düzenle her gün biraz daha kirlenmekte, sebepsiz yere işlenen suçlar artmaktadır. Yine de hem Ed Tom”un hem de dünyanın sonu muğlaktır. Bu sebeple de rüyası bitmeden uyanmıştır. No Country For Old Men, Coen Kardeşler”in çektiği en sıra dışı ve bol katmanlı filmlerden. İsminin de işaret ettiği üzere yeni ekonomik-toplumsal düzenin, eski dünya sistemini silip attığı bir dönem yaşanmakta ve bu dönem, ”ihtiyarları” hayatın dışına itmektedir. Coen”ler, ahlak-suç-para üçgeninde bir toplumun tarih içinde nasıl devinip bu kör noktaya geldiğini sorgulamış, westernlerdeki ”gözü kara şerif” ikonunu kırıp yerine korkak ve iktidarsız bir şerifi, haklı bir davası olan yepyeni bir seri katil profilini, esas oğlan olacakken seyirciyi hayal kırıklığına uğratan bir başkahramanı merkezine alarak öykücü Amerikan sinemasında yapı bozumuna gitmiştir. Film, gerek mekan-zaman ilişkisini kendine has yorumlama biçimiyle, gerek klasik anlatı kalıbını otopsi masasına yatırmasıyla, gerekse en az diyaloglu aksiyon filmlerinden birisi olmasıyla dikkatleri üzerine çekmiştir. Ayrıca Stanley Kubrick sinemasına ve Amerikan suç tarihine yaptığı referansları da es geçmemek gerek. No Country For Old Men”in tüm beklentileri havada bırakan finaline anlam veremeyenlerin oturup farklı okumalarla filmi baştan izlemesi tavsiye olunur. coen biraderler'in senaryosu kendilerine ait, çekimleri süren 2009 projesi. 1967'de geçen bir kara komedi olması ve konusu itibariyle fena halde the man who knew too much'ı andırıyor. bir profesörün, evden gitmeyen hergele erkek kardeşi yüzünden karısıyla sürtüşmesi ve karısının evi terketmesi üzerine hayatının terso olması anlatılıyormuş. ayrıca kadroda hiç ünlü oyuncu yok. ilk fragmanı yayınlanmış ve harika gözüken film. fakat fragmanın sonunda coen'lerin çektiği tüm filmleri sıralamanın manası nedir? ilk gösterimi eylül ayında toronto film festivali'nde yapılacaktır. "the big bang theory" den howard wolowitz harikulade karakterini canlandıran arkadaşımızın forma giydiği yeni coen biraderler filmidir... izlenen trailerın ardından, tipik bi coenler filmi olduğu alelade söylenebilir, ki umarım öyledir.... izlenesi, daha sonra tekrar izlenesi, sağa sola dillendirilesi, coenler bu filmle oscar alınca ise; " ben dediydim ama " şeklinde böbürlenesidir ... ders verir nitelikte bir fragmana sahip olan filmdir. bir tek kusuru the man who wasn't there klasiginin fragman sonunda unutulmus olmasi. gün itibariyle imdb'de puan verilmiş film.. nasıl almış allah kerim.. filmin kopyasındaki bir sorun nedeniyle filmekimi 2009 programından çıkartılmış. gösterime girmesi için sittin sene beklememeyi umuyoruz. coenlerin son 20 yılda çektikleri en düşük bütçeli film filmin bütçesi 7 milyon dolar , bi fargo var o civarda bundan daha ucuza kotarabildikleri sadece iki filmleri var, onlar da ilk iki filmleri blood simple ve raising arizona. box office ile arası olmadığı söyleniyor filmin. açıkçası hiç kimse tarafından izlenmeyip 0 liralık bi getiri sağlasa bile, kaybedilen 7 milyon dolar bir önceki filminden 40-50 milyon euro kar eden coenleri çok sarsmaz sanıyorum ki. daha önce yine gişede iş yapmayan miller's crossing veyahut barton fink gibi bi film çıksın ortaya da, olmadı clooney ve kankalarını toplar bi film daha çeker toparlarlar parayı zaten. woody allen uzun bir süredir varoluşçu maroluşçu komedi yapmaya bir tını yakalamaya çalışıyor ya? onu düşünün. düşündünüz mü? şimdi o bir türlü olmayan, çekilemeyen komedinin gerçekten sinema ve mizah duygusu çağının ötesine yön verecek derecede yetkin ve gelişkin 'büyük usta' seviyesine gelmiş iki kardeş tarafından nihayet çekildiğini düşünün, sevinin. no country for old menden beri coenlerin olgunluk dönemlerini geride bırakıp ustalık dönemine geçişlerini sınırsız bir haz ile izliyorum. ki düşün adamların olgunluğunda vudi elın gibi bir düzine 'usta'nın bir ömür adayacağı 'ustalık'ta eserler var. büyük usta-grand master olmak böyle bir şey sanırım, diğer ustaları çırak gibi göstermek. bu filmi de no country for old men gibi yüz üstü bırakmayıp hakkını vererek analiz manaliz etsem, kendime verdiğim sözü tutsam, öyle mutlu olacağım ki, anlatamam. hakkında yazmak bile arada entry de focus filmden para almışım gibi oldu. ama olsun. verseler alırım. focus benle irtibata geç. ekşi sözlük kullanıcılarıyla mesajlaşmak ve yazdıkları entry'leri takip etmek için giriş yapmalısın.

no country for old men analiz