Old Man Country

As a movie fan, you eventually come to trust certain filmmakers.  The Coen Brothers produce consistently good work.  I’d missed No Country for Old Men and was somewhat reluctant to see it.    Films about sociopathic killers bother me, and I knew that the Cormac McCarthy novel was about a drug deal gone bad (and made him a household name).  Drugs are another of my triggers, having grown up in an alcoholic household.  But still, the film won the Academy Award for best picture, and it was a rather glaring hole in my viewing of Coen Brother major movies.  While the film isn’t horror, it is one of the scariest movies I’ve seen in some time.  The ending is devastating, and sad, and reflective.  It’s easy to see why it appealed to the critics.  Nothing is neatly tied up at the end.  I haven’t read the novel, but I hear the film follows it closely.

Llewelyn Moss comes across a drug deal gone bad.  He finds a couple million in cash and takes it to the trailer park so he and his wife can retire.  A hit man, Anton Chigurh, pursues him and eventually Moss realizes that a transponder has been hidden among the cash, giving away his location.  Meanwhile, the local sheriff, Ed Tom Bell, does what he can to protect Moss’ wife and tries to save him from what he realizes is an unstoppable foe.  Chigurh proves as tenacious as his reputation suggests, and viewers learn that Moss is as equally tenacious, but has both a conscience and morality, both of which Chigurh lacks.  The scenes where Chigurh appears to be fair-minded are the scariest in the film.

The log line “There are no clean getaways” about sums up the outcome.  Often classified as a western, the feel is more of a thriller.  “Coen Brothers movie” might be a genre all its own.  The relative lack of humor puts it much closer to Fargo than to O Brother, Where Art Thou? or Raising Arizona on the Coen Brothers scale.  The unrelenting violence also brought Pulp Fiction (different director, different feel) to mind.  The bleakness of the outlook of Sheriff Bell, as well as the look in his eyes, is haunting.  His conversation with Ellis near the end stirs thoughts of Ecclesiastes and the reflection on just how violent people can be toward each other is profoundly disturbing.  I’ve seen many horror films that didn’t scare me half as much.


Two Roads Diverged

Back in my Gorgias Press days one of my co-laborers (BU) suggested that I might enjoy reading Cormac McCarthy’s The Road. Since then it has come out as a movie, and further apocalyptic events have occurred – the Deepwater Horizon disaster and the election of Chris Christie come to mind – so I finally got around to reading it. It is a harrowing book for any parent to read and I doubt I have the heart to see the movie. Already the book is spawning internet quotes and quips, but I was particularly interested in seeing how this post-apocalyptic novel handled God.

Since the Bible, via Zoroastrian influence, gave us the religious concept of the apocalypse, it is fitting to see how religion fares in its unhallowed progeny. Mostly God is absent. When the man and his son mention God, the language is spare and laced with betrayal. “There is no God and we are his prophets,” the old man declares after the man and his son leave the bunker. A few paragraphs later he states, “Where men cant live gods fare no better.” The value of the apocalyptic metaphor is that it forces us to face life as we find it: raw and uncompromising. In the fictional apocalypse it is permissible to utter aloud implications of life’s callous lessons.

My career has had its share of jagged edges. The lacerations I’ve personally received have been at the machinations of Christians eager for self-justification. Self-congratulatory individuals and collectives that suppose God has specially favored them. “There is no God and we are his prophets.” It is like reading Camus in slow motion. One of the lessons both Nashotah House and Gorgias Press taught me was that it can always get worse. Reading McCarthy’s sad yet true tale of the woe we bring upon ourselves, the lesson for those eager for the apocalypse is that they have only to open their eyes.