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"NO COUNTRY FOR OLD MEN" (R)
Javier Bardem is
deserving of an Oscar in "No Country for Old Men"
By Josh Kirschenbaum
The opening scene of No Country for Old
Men, an exquisitely crafted thriller from Ethan and Joel Coen, features
a voiceover monologue from Sheriff Ed Tom Bell (Tommy Lee Jones, in the
best role of his career). Jones recites his lines in a Texas drawl that
is nearly indecipherable. I advise you to listen closely for what he
says: his character is the moral center of the film. On seemingly
opposite ends of the moral spectrum are Llewellyn Moss (Josh Brolin) and
Anton Chigurh (Javier Bardem).
While hunting, Moss comes across what
looks like a drug deal gone sour. He finds a satchel of money and runs
off with it, thereby setting the stage for one of the most thrilling
pursuits in the history of film as Chigurh (who’s connection to the
money is never fully explained) sets off after him.
Brolin plays his role subtly, never letting on more than necessary. The
Coens pace their film with similar resolve, preferring to let on just
enough to keep you intrigued, but hardly informed. The Coens have always
been master filmmakers; they have a penchant for choosing the exact
right shot at the exact right moment. In recent years, however, they
have let their trademarks overwhelm them, resulting in substance-less
films like Intolerable Cruelty and The Ladykillers. In No Country for
Old Men, they seemingly let go of everything that makes them unique, but
only seemingly. In reality, they have simply made their trademarks less
apparent. The razor sharp dialogue is still there, as is their signature
dark humor. But while most Coen films have a playful quality to them
(even Fargo, in all its bloody glory, was terrifically fun to watch), No
Country is pitch black. It is a gritty, visceral picture.
The film’s violent nature comes in no small part from the actions of
Anton Chigurh. This brings me to the incomparable Javier Bardem. With
Chigurh, Bardem has created the most brilliantly complex villain I’ve
ever seen. To compare him to Daniel Day-Lewis in Gangs of New York would
be unfair. Day-Lewis’s performance, while absolutely magnificent, does
not have the depth of Bardem’s. It doesn’t really matter how high you’re
expectations are, you will be blown over nonetheless. Not only will he
be nominated for the Oscar®, but if there’s any justice in the world,
he’ll win it. But there is more to this film than just him.
Woody Harrelson and Stephen Root (the only Coen regular in the cast) do
well with what little roles they have. As does Kelly Macdonald, playing
the wife of Brolin’s Llewellyn Moss. But while no one comes close to
Bardem, Jones is the only one who manages to not be overshadowed. He
plays a role startlingly different to his roles of the past, mostly
because all of his past roles have been little more than caricatures of
the same persona. Here he plays a fully formed human being, and plays
him well.
Sheriff Bell investigates the leftovers of Moss and Chigurh’s
cat-and-mouse game (a dead body here, a burnt car there) with an
unintelligent deputy played by Garret Dillahunt. You’re probably
thinking this sounds familiar to Fargo, where Frances McDormand worked
with similarly dim fellow police officers. Yet Marge Gunderson and Ed
Tom Bell are completely different characters. Gunderson kept her
positive demeanor despite the violent happenings around her. Bell is
supremely affected by what he sees, and Jones’ performance lets us know
it. While he has little chance to be nominated in the supporting
category, the praise from this film could spillover into buzz for his
leading role in In the Valley of Elah (which received favorable
reviews).
The scenes between Moss and Chigurh are brilliantly constructed. The
Coens, being the masters they are, create scenes of unimaginable
tension. Yet they never forget that at its center, No Country for Old
Men is about people, not events. The film takes a surprising turn in the
third act. Instead of finishing the film with an epic shootout (as is
the custom in westerns and thrillers), the Coens take the time to create
a fully realized denouement. The result is an absolutely haunting film
of remarkable depth. Many people have called No Country for Old Men a
return to form, but it’s more than that: It’s a clear sign that the
Coens are growing in their filmmaking, and the result is marvelous.
****/**** |
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