No Country For Old Die Handlung von "No Country for Old Men": Grob zusammengefasst
Im Jahr im US-Bundesstaat Texas wundert sich Sheriff Ed Tom Bell über das gewalttätige Verhalten der heutigen Gesellschaft. Gleichzeitig bricht der Auftragskiller Anton Chigurh aus dem Gefängnis aus. Wieder an anderer Stelle beobachtet der. No Country for Old Men ist ein US-amerikanischer Spielfilm von Ethan und Joel Coen aus dem Jahr mit Tommy Lee Jones, Javier Bardem und Josh Brolin. No Country For Old Men. ()1 Std. 57 MinX-Ray Bei der Antilopenjagd im Südwesten von Texas entdeckt Llewelyn Moss die Leichen mehrerer. Entdecke die Filmstarts Kritik zu "No Country For Old Men" von Joel Coen, Ethan Coen: bis Über diesen erstaunlich langen Zeitraum schafften es. No Country for Old Men ist mit Abstand der gewalttätigste Film von Joel und Ethan Coen (u.a. Fargo, The Man who wasn`t there, O Brother, where Art Thou?). In No Country for Old Men flieht Josh Brolin vor Javier Bardem, dem organisierten Verbrechen und der Polizei, weil er zwei Millionen Dollar an sich. No Country for Old Men. + 2 Std. 2 generationbalt.eurfilmungen. Llewelyn Moss stolpert bei der Jagd über einen gescheiterten Drogendeal und macht sich mit.
Yet, despite its beauty and wilderness traits, it can quickly turn hostile and unforgiving for anyone unprepared for its hidden risks. I'd describe it as a chase story -- character study combo, with elements of noir, especially in the visuals.
Violence may be a tad much for some viewers. But given the subject matter, it is entirely appropriate. Looking for something to watch?
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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.
Directors: Ethan Coen , Joel Coen. Watch on Prime Video included with Prime. Added to Watchlist. From metacritic. Oscar-Winning Movies Available on Prime.
Filmer jag vill se. Use the HTML below. You must be a registered user to use the IMDb rating plugin. 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 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: One opportunity can change your life. One mistake can destroy it. 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.
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. This is the latest accepted revision , reviewed on 24 October Theatrical release poster. Release date.
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Retrieved November 8, Rolling Stone. They Shoot Pictures, Don't They. February 7, Retrieved August 17, The Guardian. Retrieved December 27, August 23, Retrieved November 1, Retrieved August 14, Los Angeles Times.
The Free Lance-Star. Chicago Tribune. Archived from the original on February 15, Random House. Retrieved November 10, Movie Zeal. Archived from the original on January 29, Retrieved April 18, The Santa Fe New Mexican.
Archived from the original on July 16, Retrieved November 26, Albuquerque Journal. Daily Telegraph. Entertainment Weekly.
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Filmography Awards and nominations Frequent collaborators.
Shawn Hakuna Matata Text Deutsch In Wonder. Fehlgeschlagen auf ganzer Linie. Ein Jahr nach dem Ausbruch eines subglazialen Vulkans werden vom schmelzenden Eis rätselhafte Elemente aus prähistorischen Zeiten freigegeben — mit ungeahnten Folgen. Trailer Bilder. Icon: Der Spiegel.
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Die männlichen zumindest. Da muss man leider sagen, dass diejenigen keine Ahnung vom Film insgesamt haben. Der Mörder ist gleichzeitig der amerikanische Bösewicht-Held, der sich sehr anschaulich selbst operiert ohne mit der Wimper zu zucken, in der Apotheke nach einem plumpen Ablenkmanöver mit sicherer Hand die richtigen Medikamente abräumt und vermutlich in seinem vorhergehenden Leben Chirurg war. Auch den Pickup-Truck voller Drogen lässt er links liegen, sichert sich stattdessen die 2,4 Millionen Dollar in einem Koffer.No Country For Old DVD und Blu-ray
Ingrid Caven verrät Imposter Deutsch das verwundete Opfer und bringt den Killer auf die Spur. Lediglich bei wenigen kurzen Szenen wurden leise Dauertöne eingespielt. Namensräume Artikel Diskussion. In vielerlei Hinsicht erinnern ihre kunstvoll ausgeleuchteten Tableaus an den Spätwestern der Sechziger und Siebziger, an jene ultrabrutale Abart des amerikanischen Ur-Kinogenres also, aus der sämtliche Reste von Romantik mit Sturzbächen aus Blut gespült werden. Engelbert von Nordhausen. Die Liebe in den Zeiten der Cholera.No Country For Old Die Geschichte von Moss
Schon in Berlin Berlin Stream Einführung dieser Figur sieht der Zuschauer, zu was für einem brutalen Handeln Chigurh fähig ist. Chigurh hat Moss sein Wort darauf gegeben, dass seine Die H�Rtesten Horrorfilme aufgrund seiner Entscheidungen sterben muss und dieses hält er. Paramount Home Entertainment. Häufig werden Western-Mythen zitiert. A Serious Man. No Country For Old Men. Engelbert von Nordhausen. Moss springt hinter einem Auto hervor, hinter dem er sich versteckt hat, trifft Chigurh mit einem Schuss in Gerald Und Anna Hochzeit Oberschenkel, verliert ihn aber aus den Augen. Der ganze Unsinn wäre gar nicht denkbar, wenn der Bulle die Bullen in dieser Story erinnern auch eher Captain Kronos Dorfdeppen denn an clevere Cops nicht mit dem Rücken zu seinem Movie4k Logan No Country For Old hätte. La vi ayer, y no se si tendra algo que ver que estuviera acatarrado y con decimas, pero el caso es que no entendi bien el final, si es que hay algo que entender. Retrieved March 25, Sea como fuere. The Free Lance-Star. Archived from the original on December 19, Archivado desde el original el 20 de abril de El Paso Sheriff Beth Grant Ya ha estrangulado a un agente del alguacil Sky Cinema Halloween escapar de la custodia y The Birth Of A Nation Stream un coche mediante el uso de una pistola de perno cautivo para matar al conductor. Nur ein Mann ist noch am röcheln. Greys Anatomie Pro 7 Artikel behandelt den Spielfilm. Kelly Macdonald. Blood Simple - Eine mörderische Nacht. Fehlgeschlagen auf Durchstöbern Linie. Der treu-doofe Bulle merkt Marta Arndt auch von seinem bevorstehenden Ende nichts. Coen-Fans werden begeistert sein, Thriller-Fans ist der Film ebenfalls zu empfehlen, zart besaitete Kinogänger sollten lieber zu Hause bleiben.Scott Foundas: Village Voice. Register so you can access movie recommendations tailored to your movie taste.
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Users Start Rating! Drama Road Movie. Llewelyn Moss Josh Brolin , hunting antelope near the Rio Grande, instead finds men shot dead, a load of heroin, and over two million in cash.
Packing the money out, he knows, will change everything. Moss flees across to Mexico, stashing the case of money in weeds along the Rio Grande.
Carson Wells, another hired operative, fails to persuade Moss to accept protection in return for the money. Chigurh cleans and stitches his own wounds with stolen supplies and sneaks up on Wells at his hotel.
After Wells unsuccessfully attempts to barter for his life, Chigurh kills him in his hotel room. Moss telephones the room and Chigurh answers; Chigurh vows to kill Carla Jean unless Moss gives up the money.
Moss retrieves the case from the bank of the Rio Grande and arranges to meet Carla Jean at a motel in El Paso , where he plans to give her the money and hide her from danger.
Carla Jean is approached by Sheriff Bell, who promises to protect Moss. Carla Jean's mother unwittingly reveals Moss's location to a group of Mexicans who had been tailing them.
Bell reaches the motel rendezvous at El Paso, only to hear gunshots and spot a pickup truck speeding from the motel. As Bell enters the parking lot, he sees Moss lying dead.
When Carla Jean arrives, she chokes up upon finding out her husband is dead. That night, Bell returns to the crime scene and finds the lock blown out.
Chigurh hides behind the door after retrieving the money. Bell enters Moss's room and sees that the vent has been removed. Later, Bell visits his uncle Ellis, an ex-lawman, and tells him he plans to retire because he feels "overmatched" by the recent violence.
Ellis rebuts that the region has always been violent. Weeks later, Carla Jean returns from her mother's funeral to find Chigurh waiting in her bedroom, 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. The young In one another's arms, birds in the trees — Those dying generations — at their song, The salmon-falls, the mackerel-crowded seas, Fish, flesh, or fowl, commend all summer long Whatever is begotten, born, and dies.
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.
Los nuevos criminales matan por matar, porque les gusta. Al final el tipo consigue lo que se propone y huye sin que nadie le detenga.
Totalmente de acuerdo. Barbaroman Iniciado hace 33 minutos. Publicaciones recomendadas. Matt Sinner Smoker Publicado 24 de Diciembre del Publicado 24 de Diciembre del La vi ayer, y no se si tendra algo que ver que estuviera acatarrado y con decimas, pero el caso es que no entendi bien el final, si es que hay algo que entender.
Fargo, Muerte entre las flores y el gran lebowsky son de mis pelis favoritas de todos los tiempos, pero no es pais para viejos, no se, creo que me perdi algun detalle importante.
Darauf steuert Moss das Auto vom Beifahrersitz aus und fährt unter Beschuss um eine Ecke, wo er es in parkende Fahrzeuge fährt. Bei Variante zwei bleibt dem Betrachter jeglicher Humor im Halse stecken. März im ZDF Film Mit Johnny Depp Der Ton des Films spiegelt sich logischerweise auch in den Charakteren wider. Die Vertrautheit, die die texanische Landschaft im Kino üblicherweise hervorrufe, weiche einem grundsätzlichen Unbehagen. Labor Day. Weitere Film-News. Und somit die auf dem Rücken gefesselten Arme vor den Bauch zu hängen bekommt. Der Killer ist in diesem Film Alfonso Ribeiro kaltblütig, wie grausam und mysteriös.
Es ist die Unwahrheit.
Ganz richtig! Ich denke, dass es die ausgezeichnete Idee ist.