Very few directors in my life time have been as unique or eclectic as the Coen brothers.
There are still three or so films of theirs I admit I need to see, but one only needs to see a couple to realize their talent. Even their “lesser” films are still interesting to watch (with the probable exemption of 2004’s The Ladykillers). They even managed to make a remake of the classic True Grit in 2010, and managed to make it just as effective (some would argue it is even better). Yet for all they have under their artistic belt, no film stuck to me (or the Academy) more so than their Best Picture winner of 2007, No Country for Old Men.
Based off of the book by Cormac McCarthy, what the film taught me as a film goer was patience. The film is not afraid to take its time before Llewelyn (Josh Brolin) stumbles upon the stolen money, and finds himself being chased by Anton Chigurgh (Javier Bardem). The pieces left behind are being picked up by the local Sheriff Ed Tom Bell (the pitch perfectly cast Tommy Lee Jones).
The Coen’s don’t mind taking their time giving us little subtle moments that, these days, require the viewer to stay off of their phone. The cat and mouse scenes between the aforementioned characters are basically Hitchockian.
This was one of two movies in 2007 that was a resurgence for Josh Brolin (the other being American Gangster, where he also shoots a dog). He had been in movies going as far back as The Goonies, but 2007 was the year that brought him truly into the public eye (it was not long before he was cast/immortalized as Thanos in the MCU).
Yet even with the immaculate performances from Jones and Brolin (not to mention Woody Harrelson and Kelly Macdonald), as well as the cinematography by the legend that is Roger Deakins, there is simply no way anyone cannot ignore Javier Bardem. His Anton Chigurgh is proof that not all fictional characters that are clearly psychopaths don’t have to be portrayed over the top. His is so emotionless and silent, but never the less ruthless. Add in the fact that (spoiler) he escapes and you have my pick for the best villain of the century so far.
Like many, I felt at the time the ending of the film was a bit abrupt and awkward, but I have come to accept it as clearly the right one (this was the same year as that wonderful finale for The Sopranos that confused a lot of people, myself included). Yet the Coen’s always played by their own rules. When the Coen’s won Best Director for the film (one of four Oscars it won, along with Picture, Screenplay, and Supporting Actor for Bardem), Joel said it best when he thanked everyone for letting them continue to play in their corner of the sandbox.
(As of this writing, No Country for Old Men can be found on MGM plus on Amazon).
Friendo.
Nothing else to say 