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No Country for Old Men
- Matt Thrower
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- Shiny Balls
- Number Of Fence
So I got the book, and read it, thinking it might help me understand.
I thought it the weakest of McCarthy's books that I've read so far, although that's a bit like saying some billionaires have less money than others. It was still damn good. It showed that it was once a screenplay and lacked much of his trademark prose-poetry except in brief flashes, being composed of a lot of conversation.
So .. why was it better than the film? And what did I learn from that as regards why the film failed for me? Some thoughts.
** MAJOR SPOILERS AHEAD **
Some of the material that got cut in the transition from book to screen was pretty crucial. The killing of Carla Jean lent weight to the books' overall theme of fate and randomness which I just didn't pick up in the film. The few short chapters between Chigurh's car crash and the actual ending helped give the book a longer sense of narrative and avoided the jarring "... but that hasn't really ended" feeling I got at the end of the film.
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Sudden and unexpected transitions between characters, missing out chunks of action which are then revealed as a discovery of the new character, are a major feature of the book. They work well because they're shocking, and the text has time to lay the appropriate groundwork to help the reader patch the information together, and they can always flip back a page if necessary.
In the film, these transitions shocked, but were often very confusing. Most importantly is Moss's death: in the film I had no idea what had just happened and when I worked it out I couldn't understand *who* had killed him and *how*. But of course the narrative just carried on regardless, deepening my confusion.
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In the book, relatively early on, I got the sense that Chigurh was something more than human, a fictional construct suitable for a fictional story. Thus his seeming indestructibility didn't bother me (an interesting parallel with Judge Holden from Blood Meridian for McCarthy fans). Chigurh on celluloid seems much more realistic, probably a fault of the medium as much as the directors or actor. As a result he seems scarier than he does in the book, but when he starts to do all those amazing things it just feels bizarre and wrong
This was particularly important when he ends up finding and killing the employer of Carson Wells who, it is made clear, is a secretive and super-cautious man. How Chigurh tracks him down is never revealed in book or film but in the book, because I'd already decided Chigurh had more than a hint of the supernatural about him, it didn't worry me. In the film in annoyed the hell out of me. In fact it's probably the point when the film "lost" me and I started to dislike it. Also, the way he simply vanishes at the end felt acceptable for the ghostly, literary version of the character, but wrong for the realistic movie version.
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I saw the film in the theater (rare for me!) and walked out in a daze. It was stunning. It does not forcefeed you exposition and you are left to piece together Moss's death as the film continues--in the way the Sheriff has to keep going even though the story has "stopped" for him. The book is more uneven for me, adding a lot of backstory where it's not needed, and adding more afterstory for the Sheriff after Moss is gone.
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- Matt Thrower
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jeb wrote: I think you can draw a less-than-subtle parallel between Chigurh and the Judge--or even back to the trio in OUTER DARK. There is evil in the world, and there are evil men. What McCarthy gets right about this is that the truly evil men don't feel bad about it. There's no Mommy issues or flashbacks to tough childhoods or soliloquies on their internal anguish--they are just bad. And if you get tangled up with them, the taint will stain you; as it does the kid in BLOOD MERIDIAN.
I'm sure there's something in that, but isn't it curious as to how McCarthy shows these "truly evil" characters as being almost supernatural? Perhaps he's almost saying that true evil is so bereft of humanity that it can only exist outside of it, or in fiction.
jeb wrote: I saw the film in the theater (rare for me!) and walked out in a daze. It was stunning. It does not forcefeed you exposition and you are left to piece together Moss's death as the film continues--in the way the Sheriff has to keep going even though the story has "stopped" for him. The book is more uneven for me, adding a lot of backstory where it's not needed, and adding more afterstory for the Sheriff after Moss is gone.
Odd. I felt the exact opposite.
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You can say that for Judge Holden, but Chigurh gets in a car accident. That is a humanizing moment. I think what you are interpreting as supernatural is more often written by McCarthy as extranatural. These are not persons like you or me, they are different and their ways are not completely familiar to us or the protagonist. Imagine Chigurh is like Sherlock Holmes, but the story never refers to his powers of deduction or intellect. He just seems like an alien.MattDP wrote:
jeb wrote: I think you can draw a less-than-subtle parallel between Chigurh and the Judge--or even back to the trio in OUTER DARK. There is evil in the world, and there are evil men. What McCarthy gets right about this is that the truly evil men don't feel bad about it. There's no Mommy issues or flashbacks to tough childhoods or soliloquies on their internal anguish--they are just bad. And if you get tangled up with them, the taint will stain you; as it does the kid in BLOOD MERIDIAN.
I'm sure there's something in that, but isn't it curious as to how McCarthy shows these "truly evil" characters as being almost supernatural? Perhaps he's almost saying that true evil is so bereft of humanity that it can only exist outside of it, or in fiction.
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jeb wrote: You can say that for Judge Holden, but Chigurh gets in a car accident. That is a humanizing moment. I think what you are interpreting as supernatural is more often written by McCarthy as extranatural.
I loved the movie, this was what I got from it too. You're lulled into thinking he is almost supernatural, inhuman. Then, in one moment, it turns out he's human and just as vulnerable to the same forces of randomness that tear into all the other characters.
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jeb wrote: It's offscreen. This is pretty unusual for cinema. He is a protagonist, or at least we are led to believe he is. The story sets you up for an epic Chigurh/Moss showdown, but it turns out that moment happens with Carla Jean and not Llewellyn.
I was really, really loving the movie until Moss was killed offscreen. Incredibly stupid and unsatisfying. I've been following this dude for the whole movie, he goes off on this rant about making him a "special project" or whatever, then he dies off-screen?
Fuck you, movie.
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- Matt Thrower
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jeb wrote: It's offscreen. This is pretty unusual for cinema. He is a protagonist, or at least we are led to believe he is. The story sets you up for an epic Chigurh/Moss showdown, but it turns out that moment happens with Carla Jean and not Llewellyn.
And then they cut most of that showdown as well.
I don't recall the film that well - it's been several years since I saw it. But I seem to remember that the scene goes on for some time before Moss is mentioned. It's clear that someone has died, but not who. And even when the audience do see that it's Moss, it's never explained who did the killing, or why whereas in the book the details are recounted by a witness.
Starting to wonder if my problem with the film is simply that they cut too much.
It's also possible there's a language issue. A lot of the plot turns on very small details, and if you're not used to hearing rural Texan accents on a regular basis, you can miss stuff very easily.
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The car crash is important. It signals to Chigurh, and the reader: to declare yourself 'with' the callousness of the universe does you no favors. It doesn't give you special powers. It doesn't make you better, or even different, than anyone else. To care about uncaring is still caring. Chigurh is still a human, and has made a choice to impose a value-laden narrative onto the Universe. But the Universe Does. Not. Give. A. Shit. And thus part of the story is that even the most evil, heartless man in the world cannot deal with the universe's utter inhumanity.
As a bonus exercise, ask yourself: starting with Moss going back to give the man some water, does any act made with good intentions in the book come out well for anyone involved?
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I once made an offhanded comment to a fellow writer that I was going to name my firstborn son 'Judge Holden X'. She was so shocked she couldn't speak for a few moments, much to my amusement. It's a brutal character.
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- Matt Thrower
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- Number Of Fence
wolvendancer wrote: Chigurh is very much human; he is a human who has taken nihilism and existentialism to its end-point.
If that's really the case then I'm a little disappointed with the book. I don't like the fact that his tracking down of a secretive and secure drugs boss is simply glossed over - it made him feel more like a ghost than a man.
I don't think his involvement in the car accident invalidates its use as a reinforcement of randomness if he's seen that way. It could be read as fate having power over all, everything in the world and everything you can possibly imagine.
wolvendancer wrote: As an aside: Judge Holden is very much NOT a human being. He's the personification of the American spirit, ie, rape and murder (slavery and genocide). He was where it all began, is where it ends, and will incorporate all of us in his evil, no matter what we do.
That was rather my conclusion was well, although what, exactly, he is seems very much up for debate. The devil incarnate is a popular option. Personally I thought that he was older than America and felt like the animus behind war gods through the ages and who had found a new and appreciative outlet for his wares on the frontier.
Shellhead wrote: For what it's worth I didn't even understand that Moss was dead.
I'm very pleased to learn that I'm not the only one who struggled to follow it.
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Literally, it's a tight, tense, enjoyable movie right up until that point. Then, the movie meanders off, teases a confrontation with Tommy Lee Jones that doesn't happen, and then Tommy rambles about weird dreams with his dad on a horse then...credits.
I went from totally digging it to wanting to throw my shoe at the TV.
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Was the woody harrelson such a drip in the book?
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