finally saw this last night and was totally wrapped up in it. I have not read the book and am now glad I didn't read this thread till after. I had some points of confusion, but only minor I guess to the story. I missed out on the 2 room thing at the end, and I was under the impression that the Mexicans got the money and Chigur found an empty vent.
all the more reason I need to go see it again.
Film: No Country for Old Men
82SPOILERS:
chigurh is in the room. from the script:
so where did he go? I say bathtub.
chigurh is in the room. from the script:
MOTEL
Now very late, empty of onlookers and emergency vehicles.
Sheriff Bell's cruiser pulls up just inside the courtyard. He cuts the
engine.
Sheriff Bell sits looking at the motel.
Very quiet.
After a long beat he gets out of the car. He pushes its door shut quiet-
ly, with two hands.
He looks up the veranda.
The one door, most of the way up, has yellow tape across it. Its loose
ends wave in a light breeze.
Sheriff Bell looks up the street.
Nothing much to attract his attention.
Sheriff Bell steps up onto the veranda. He takes slow, quiet steps.
We intercut his point-of-view, nearing the door marked by police tape.
109
As he draws close to the door he slows.
The yellow tape is about chest high. Above it is the lock cylinder. It
has been punched hollow.
Sheriff bell stands staring at the lock.
Very quiet. The chick. chick. Of the tape-ends against the doorframe.
Still.
INSIDE
Chigurh is still also. Just on the other side of the door, he stands
holding his shotgun.
From inside, the tap of the breeze-blown tape is dulled but perceptible.
It counts out beats.
Chigurh is also looking at the lock cylinder.
The curved brass of its hollow interior hold a reflection of the motel
room exterior. Lights and shapes. The curvature distorts to unrecogni-
zability what is reflected, but we see the color of Sheriff Bell's uni-
form.
The reflection is still.
OUTSIDE
Sheriff Bell finishes bringing his hand to his holstered gun. It rests
there.
Still once again.
His point-of-view of the lock. The reflection from there, darker, is
hard to read.
INSIDE
Chigurh, still.
OUTSIDE
110
Sheriff Bell, his hand on his holstered gun. A long beat.
His hand drops.
He extends one booted toe. He nudges the door inward.
As the lock cylinder slowly recedes, reflected shapes scramble inside
it and slide up its curve. Before the door is fully open we cut around:
FROM INSIDE
The door finishes creaking open. Sheriff Bell is a silhouette in the
doorway.
A still beat.
At length Sheriff Bell ducks under the chest-high police tape to enter.
The worn carpet has a large stain that glistens near the door. Sheriff
Bell steps over it, advancing slowly. The room is dimly lit shapes.
There is a bathroom door in the depth of the room. Sheriff Bell advan-
ced toward it. He stops in front of it.
He toes the door. It creaks slowly open.
The bathroom, with no spill light from outside, is pitch black.
Sheriff Bell reaches slowly up with one hand. He gropes at the inside
wall.
The light goes on: bright. White tile. Sheriff Bell squints. A beat.
He takes a step in.
He looks at the small window.
He looks at the window's swivel-catch, locked.
MAIN ROOM
Sheriff Bell emerges from the bathroom. He sits heavily onto the bed.
He looks around, not for anything in particular. His look catches on
something low, just in front of him:
111
A ventilation duct near the baseboard. Its opening is exposed; its grille
lies on the floor before it.
Sheriff Bell stares.
At length he leans forward. He nudges the grille aside. On the floor, a
couple of screws. A coin.
A CAT
Licking itself on a plank floor, stiffened leg pointing out.
It suddenly stops and looks up, ears perked.
A frozen beat, and then it bolts.
The camera booms up to frame the barren west Texas landscape outside the
window of this isolated cabin. A pickup truck is approaching, trailing
dust. The cat reenters frame outside, running across the rutted gravel
in front of the house as the pickup slows.
so where did he go? I say bathtub.
Film: No Country for Old Men
83re: spoiler script stuff
this doesn't seem to make sense. if anton is just on the other side of the door, how does bell open the door without it bumping into anton? if anton kills just about everyone, why not him? because of a psychic premonition that this guy isn't a threat? he kills plenty of people who aren't a threat too.
this doesn't seem to make sense. if anton is just on the other side of the door, how does bell open the door without it bumping into anton? if anton kills just about everyone, why not him? because of a psychic premonition that this guy isn't a threat? he kills plenty of people who aren't a threat too.
Film: No Country for Old Men
84world of pee wrote:re: spoiler script stuff
this doesn't seem to make sense. if anton is just on the other side of the door, how does bell open the door without it bumping into anton? if anton kills just about everyone, why not him? because of a psychic premonition that this guy isn't a threat? he kills plenty of people who aren't a threat too.
i think because bell didn't see him..... i base this on when chigur is at the office and the accountant asks him if he's going to kill him; chigur answers something like, "that depends. do you see me?" in some twisted way he has empathy or maybe sympathy (he almost seemed a little broken up when he was talking to homie's wife before he killed her) and as woody harrelson's character mentioned, he has principles.
oh yeah, i finally saw this movie... and it is incredibly not crap. very slow and anticlimactic but not in a boring indie kinda way. i could go on...
Last edited by kenoki_Archive on Tue Jan 08, 2008 12:04 am, edited 2 times in total.
Film: No Country for Old Men
85That "do you see me" angle is interesting. I just started listening to the recorded version in the car today, and in his monologue at the beginning, Bell says there's a great evil and that "he passed before his [the evil's] eyes, and I don't plan to do it again", or something similar.
Let's stick together and futurize our attitudes!
Film: No Country for Old Men
86Here's a theory I just read elsewhere:
The dime that was used to unscrew the grating in the motel room wasn't just a tool to remove the grating. Chigurh flipped it, and it told him not to kill Bell. The coin is a way of him having some sympathy for victims or non-victims, because he tells himself it's all luck. He doesn't kill Bell or the gas station owner because of luck, and he does kill Moss' wife because of luck.
The dime that was used to unscrew the grating in the motel room wasn't just a tool to remove the grating. Chigurh flipped it, and it told him not to kill Bell. The coin is a way of him having some sympathy for victims or non-victims, because he tells himself it's all luck. He doesn't kill Bell or the gas station owner because of luck, and he does kill Moss' wife because of luck.
Let's stick together and futurize our attitudes!
Film: No Country for Old Men
87Loved it. Sometimes the Coen Brothers films aren't quite as deep as they stylistically feel, but that's a minor criticism. This I found totally immersive. It was a morality tale, like Fargo, albeit a discrete one.
Two nice parts:
Llellwyn's indifference to the safety of his mother-in-law.
The argument between the two boys over the bill that Chigur gives them for the shirt, at the end of the film.
Two nice parts:
Llellwyn's indifference to the safety of his mother-in-law.
The argument between the two boys over the bill that Chigur gives them for the shirt, at the end of the film.
Film: No Country for Old Men
89Saw it for the first time two weeks ago and loved it.
Despite the violence, it had a quiet, atmospheric not-in-your-face quality to it which is very rare.
I watched again acouple times after that.
Masterpiece.
Despite the violence, it had a quiet, atmospheric not-in-your-face quality to it which is very rare.
I watched again acouple times after that.
Masterpiece.
Film: No Country for Old Men
90burun wrote:I especially love when he sort of chokes on the sunflower seeds.
I love that moment. You can read a fair amount into it regarding his image of himself compared to his actual fallibility.
I also love the moment in the same scene after he says "...It will become just another coin... Which it is..." when he gives a solemn, slightly conspiratorial nod to the old man.
After seeing it twice last weekend, I have to say this film really spooked me.
Gib Opi kein Opium, denn Opium bringt Opi um!