In order for a movie to really grip the audience and never loosen its hold, the opening minutes—whether a more gradual introduction or an instant jump into action—must set the tone and genuinely pique everyone’s interest. Otherwise, if people are not captivated from the get-go, what is to keep them from leaving the theater? No Country for Old Men—an adaptation of a 2005 novel of the same name by Cormac McCarthy—started out both intense and bizarre and never deviated from that path.
Set in 1980 near the Rio Grande, No Country exhibits a place that is barren and uninviting, even to those who inhabit the land. The opening scenes introduce the audience to the main character, Llewelyn Moss (Josh Brolin), who seems to have a feel for the topography both through traversing the deserts and by observing his surroundings through binoculars or the scope of his rifle. After a misfire while hunting antelope, Moss stumbles upon abandoned vehicles and dead bodies, the type of scene that would send a normal person running. He, however, reacts slowly as though the scene does not disturb him, especially as he calmly loots the bodies and vehicles. After finding a drug shipment in the back of one truck, Moss assumes this is a deal gone wrong, and discovers a satchel full of money—around $2 million—which he thinks is now rightfully his—possession is nine-tenths of the law, right?
Unfortunately for him, that money and those drugs were supposed to end up in someone’s hands, and that kind of merchandise does not travel without an insurance policy. Though he initially escapes from his pursuers, Moss makes the mistake of returning to fulfill a dying man’s wish for agua, and sets a ruthless killer on his path. Anton Chigurh (Javier Bardem), pronounced almost like “sugar,” is an assassin whose demeanor mimics that of Hannibal Lector—he kills his victims effortlessly without any hint of emotion. Bardem, sporting a horrible haircut and ghostly pale skin, is a perfect match for this merciless role that allows little room for humor. All of his actions are carefully executed, right down to preventative measures for reducing blood mess, though he does toy with some victims. After torturing them by asking odd questions—though no one ever stops and says, “What are you talking about?!”—he lets a coin toss decide their fate. He is clearly out of place in these nearly-abandoned towns, but it seems as though nothing can faze the few remaining residents, not even the sight of an alien-like man wandering around carrying a cattle stun gun.
The majority of the film follows Chigurh’s chase of Moss, which even crosses into Mexico at one point, and exhibits the killer’s bitter disregard for human life—though he usually has a suspicious smirk when disposing of people. Moss does have the help of Sheriff Bell (Tommy Lee Jones), who tries to prevent the inevitable but he, too, realizes his efforts may be in vain when not even law enforcement controls the land.
The entire movie seems to be growing in tension and leading up to some main event, but it doesn’t ever quite reach a resolution point. The end was the most disappointing, as the credits just began to scroll and murmurs of “What?!” were heard through the crowd. However, my misunderstandings seem to come from not reading the book, so I would recommend seeing it for yourself, especially if you are a fan of the Coen brothers.
