no country for old men analiz

Directed by brothers Joel and Ethan Coen, No Country For Old Men is an existential film as it reveals the idea of the existential concept of absurdity — anything may happen to anyone at anytime without any rational explanation. The three protagonists in the film, Llewellyn Moss, Anton Chigurh, and Ed Tom Bell, all experiences certain No Country for Old Men, starts near the Texas-Mexican border in 1980. A Vietnam War vet named, Llewelyn Moss, finds a sack of drug money in the desert after accidentally stumbling into a shootout between gangs. Knowing the risks, he takes the money in hopes for a better future for his wife and himself. However, a very dangerous criminal, Anton The film centers around three main characters: Llewelyn Moss, Sheriff Tom Bell, and Anton Chigurh. The linear plot is based on a cat-and-mouse game between Moss and Chigurh in a pursuit for stolen drug money that Bell attempts to fruitlessly intercept. Both of these characters represent the dichotomy of predestination and human agency. No Country for Old Men: Choice, Chance, and Being. In Cormac McCarthy’s No Country for Old Men, the first allusion to the character Anton Chigurh comes when Sheriff Ed Bell describes “a true and living prophet.”. Upon considering the ways in which Chigurh seems otherworldly and quite a bit different than the people we know, perhaps this Inthe movie‚ “No Country for Old Men ‚” A character by the name of‚ Llewelyn Moss‚ is caught in the cross fires of money‚ his actions‚ his thoughts‚ and most of all his own fate. Throughout the movie he is in a constant rat race with a man who goes by the name of‚ Anton Chigurh. Premium No Country for Old Men. 1485 Words. Site De Rencontres Gratuit Pour Les Femmes. Summary The time is our own, when rustlers have given way to drug runners and small towns have become free-fire zones. The story begins when Llewelyn Moss finds a pickup truck surrounded by a sentry of dead men. A load of heroin and 2 million dollars in cash are still in the back. When Moss takes the money, he sets off a chain reaction of catastrophic violence that not even the law, in the person of aging, disillusioned Sheriff Bell, can contain. As Moss tries to evade his pursuers-in particular, a mysterious mastermind who flips coins for human lives-the film simultaneously strips down the American crime drama and broadens its concerns to encompass themes as ancient as the Bible and as bloodily contemporary as this morning's headline. Miramax Details Runtime 122 min Rating Rated R for strong graphic violence and some language. Production Mike Zoss Productions Genres Drama, Thriller, Crime, Western Country USA Languages English, Spanish Home Release Date Mar 11, 2008 By MetascoreBy User Score BEWARE; spoilers for the 2007 film below! In 2005, acclaimed writer Cormac McCarthy released a novel titled NO COUNTRY FOR OLD MEN. A mere two years later, filmmakers Joel and Ethan Coen adapted the work for the big screen. Upon its release, the film was acclaimed by both audiences and critics and would go onto win an abundance of awards. Today, the film is often considered one of the greatest films of the 21st century; here is why. No Country For Old Men 2007 Cinematography by Roger Deakins A Cat-And-Mouse Game At the beginning of the film, we find Sheriff Bell, played by Tommy Lee Jones, reflecting on the old-timers who used to be in the police force. Bell ponders the fact that he has been sheriff in Terrell County, Texas, since the age of 25. He remains pensive throughout the film for he seems perplexed by the continuous presence of violence in his town. It is as though he was expecting his role as a sheriff to make more of an impact on humankind. If the violence in his community is increasing, what change did Bell truly bring as sheriff? READ Check out our analysis of the 1947 film noir LADY IN THE LAKE, here! With this, Tommy Lee Jones’ character is often perceived as one that is on the outside looking in. He never interacts with the primary antagonist, Anton Chigurh, who is played by the phenomenal Javier Bardem. As a result, Bell and his partner, Deputy Wendell, embark on a cat-and-mouse chase with an elusive villain. Their inability to capture Chigurh prompts doubt. How does one capture an enemy that operates like a ghost, a haunting? The task of bringing this killer in begins to lose objective when it becomes increasingly difficult to find this intangible figure. “Alright. What we circulate? Lookin’ for a man who has recently drunk milk?” – Sheriff Ed Tom Bell Anton Chigurh has often been perceived as a personification of evil. He lacks any trace of empathy and operates solely to fulfill his personal ambitions. With this, Bell’s role in chasing Chigurh parallels his own struggles in comprehending evil in the modern context. He struggles to understand the motives behind the violence, a struggle that deepens with Chigurh’s unpredictability. The Milkman Dollars and Sense Initially, money seems to motivate Anton Chigurh as he chases Josh Brolin’s Llewelyn Moss to retrieve the two million dollars Moss took after finding it in a truck with a dying man. At that moment, the dying man disregards the significant amount of cash right next to him. Instead, he begs Moss’ character for water, for he is on the brink of death. Money initially appears to be the crux that holds the plot of the film together. However, as the narrative moves forward, we come to realize that money lacks value to these characters. This motif is exemplified in the final sequence of the film when Bell discusses two dreams he had with his wife. READ Love Westerns? Read ComicsVerse’s analysis of the 2016 remake, THE MAGNIFICENT SEVEN! The first one he relays involves Bell losing some money his father had given him, but he is unsure if he truly lost the money or not. After Bell narrates this dream, he immediately segues into the next one. He brushes off this dream as insignificant for the presence of money lacks importance regarding his second dream, a dream discussed later in this article. Though Chigurh and Bell embody distinct narratives in the film, they share similar perceptions on money. Though the majority of the first half of the film depicts Chigurh tracking Moss down to retrieve the cash, one sequence between the two exhibits a shift in Chigurh’s motivations. In this sequence, Chigurh relays to Moss over the phone that he intends on killing Moss whether or not he retrieves the money. Javier Bardem as Anton Chigurh The Grim Reaper Anton Chigurh appears apathetic, never seeking incentive for his crimes. He seemingly operates without an objective and kills without remorse. Chigurh even goes out of his way to shoot and kill a crow for no particular reason. Historically, crows have been known to be symbols of death. So, to depict Chigurh nonchalantly killing a symbol of death showcases his authority over death. One can argue that Chigurh simply enjoys killing and this bloodlust is what motivates him. However, it was difficult to determine if he enjoys the act since he maintains such a detached character. READ How does Hollywood make more films like NO COUNTRY FOR OLD MEN? Check out ComicsVerse’s perspective on the abundance of modern-day remakes and sequels, here! In my point of view, I believe Anton Chigurh enjoys the control of holding another man’s life in his hands. Life operates through random events, so no one is capable of controlling their fate or the fate of others. With this, Chigurh manipulates fate by taking the fates of others into his own hands. He breaks the cycle of randomness by personally determining the end of one’s life. Because of this, money and material things lack value in comparison to this overlying power. “He’s a psychopathic killer, but so what? There’s plenty of them around.” – Deputy Wendell Josh Brolin as Llewelyn Moss Penny For Your Thoughts If money is not the crux that holds the film together, then one can argue that the crux is death. The deaths portrayed in NO COUNTRY FOR OLD MEN are random and, at times, anticlimactic. The death of Llewelyn Moss, by Chigurh’s hand, occurs off-screen. The only way the audience becomes aware of his murder is within the depiction of his dead body. It is intriguing that a primary character has such an insignificant send-off. However, this may be a way to further the desensitization to violence in Sheriff Bell’s town. In another sequence, he relays to Deputy Wendell a story about a crime he had previously investigated. Wendell begins to laugh in response to the absurdity of the crime, to which Bell responds that he too has found humor in past horrific events. This sequence seems to imply that laughter is a response to a lack of understanding. Throughout his career, Bell has struggled to understand the motives of violence, despite the fact that he has been obligated to face violence for most of his career. “I always figured when I got older, God would sorta come into my life somehow.” – Sheriff Ed Tom Bell READ Will DUNKIRK join NO COUNTRY FOR OLD MEN as a Best Picture winner? Check out ComicsVerse’s analysis of Christopher Nolan’s masterpiece, here! He struggles to come to terms with the fact that his life’s work has failed to reveal any insight into evil. Along with this, he struggles to realize that his career has failed to inspire change in humankind. People are still evil and continue to do evil things. Because of this, he ultimately wonders if he served any purpose as a sheriff. This perspective is certainly a nihilistic one, particularly when you consider the randomness by which Chigurh operates and the anticlimactic nature of Moss’ death. Tommy Lee Jones as Sheriff Bell Your Lucky Coin The first half of the film features an intriguing, albeit uncomfortable, interaction between Chigurh and the owner of a gas station. In the scene, Chigurh offers the gas station owner a chance to control his fate by allowing him to call a coin toss. The gas station owner calls the correct side of the coin, which prompts Chigurh to spare his life. Chigurh then informs the man to put the coin in any other place besides his pocket, for the coin is his lucky coin. By putting the coin back in his pocket, it will get lost in the other coins, losing its significance. However, Chigurh goes on to contradict himself when he says, “…It’ll get mixed in with the others and become just a coin. Which it is.” In this scene, Chigurh permits the randomness of life to exhibit its authoritative nature. The gas station owner may perceive the coin as the object that dictated his fate when in reality it was mere chance, which is what Chigurh reminds the gas station owner of when he remarks that the coin is not that special. READ Want to check out another work that has a neo-Western edge? Read our review for WYNONNA EARP SEASON ZERO 1! Throughout the film, randomness appears to be a confidant of Chigurh, operating in his favor. This relationship abruptly changes in the final moments of the film, when a car rams into Chigurh’s own vehicle. Upon my first viewing of NO COUNTRY FOR OLD MEN, I thought Sheriff Bell was the one responsible for the accident, expecting him to lock Chigurh up and end the cat-and-mouse game. I was wrong. An ending to ponder Back In Older Times A few young boys serve as witnesses to Chigurh’s accident. He pays the boys off, telling them to inform others that he was not present at the scene of the accident. He then stumbles off, most likely continuing his dark path. No one captures the heartless, murdering Anton Chigurh. There is no climactic fight between him and the hero of the film. Rather, he escapes, slightly inconvenienced by the idiocy of a random driver. No justice, no closure. Sheriff Bell’s second dream seems to reference the film’s overlying lack of closure. In the dream, Bell follows his father, who is holding onto an illuminated horn, through the dark. Since NO COUNTRY FOR OLD MEN’s release, there have been a variety of interpretations of this final monologue. Perhaps it exemplifies the infinite nature of evil and crime, which people such as Bell and his father will continue attempting to alleviate. Maybe it showcases a justification of Bell’s retirement, exemplified at the moment where he abruptly awakes from his dream. The dream may imply that Bell should no longer uphold his duty, for his work has proved only to be futile. “I could see the horn from the light inside of it – about the color of the moon. And in the dream I knew that he was goin’ on ahead and he was fixin’ to make a fire somewhere out there in all that dark and all that cold. And I knew that whenever I got there, he’d be there. Then I woke up.” – Sheriff Ed Tom Bell One can discuss the facets of NO COUNTRY FOR OLD MEN for ages. It is a rich, multi-faceted film that audiences should continue to discuss because ultimately, there is no way to truly know what the film is attempting to convey to us. All we know is what we derive from the characters and the narrative. So, I suppose this begs the question of why we bother to interpret a film such as this in the first place. Is It Any Good? The desolate landscape and moral layout evoke old Westerns, but the film also reconsiders that genre's conventions, suggesting comparisons between now and "the old times." So while Ed Tom follows clues and questions witnesses - including Lleweleyn's wise, forgiving young wife Carla Jean Kelly Macdonald - he's always a slight step behind his prey, recognizing Anton's extreme iniquity even before Llewelyn does. Though the war vet and the killer do match wits for some time in some deliciously tense, beautifully shot cat-and-mouse scenes, the sheriff knows that in a showdown, decency can't keep up with depravity. Smart and compelling throughout, the film includes some stunning set-pieces, including a scene in which Llewelyn runs up a shallow river away from a ferocious hunting dog the two shapes bobbing as they try to muster speed against the current is a sight you won't soon forget, and another in which he sits in a dark hotel room, shotgun on his lap, waiting for Anton's arrival. As a smooth-talking bounty hunter named Carson Wells, Woody Harrelson provides a few moments of welcome off-rhythm distance from Anton and Llewelyn's contest, but their intense focus on each other is overwhelming, even leading to a confrontation between Anton and Carla Jean, who refuses to participate in the coin-flip he offers. "The coin don't have no say," she says, eyeing him darkly. "It's just you." Andin the end, it is just Anton, his bizarre, amoral meanness emblematic of the changes that Ed Tom perceives. Whether these changes are a function of his own aging, altered perspective, or a kind of national psychic shift, the film leaves for you to figure. Interesting plot that goes at a nice, steady pace, with some captivating performances by Tommy Lee Jones and Javier Bardem. Thought the ending was total bollocks though and kinda left me feeling a bit i've always been attracted to the image of the mythical america often portrayed in traditional western films. gunslinging, desert-roaming cowboys standing off in a classic shootout. the image may change slightly depending on the time, but the overall aesthetic and premise stays the same. in "no country for old men", cowboys and gunslingers are replaced by hunters and hitmen, and the pickup truck is the favoured mode of transport. it follows the traditional method to a tee, but at the same time subverts it and flips it on its own head. the hero and the villain are present, the standoff is constantly impending, we get a glimpse of what's to come in one of the greatest film scenes ever, and then it... never comes. it should be frustrating, but it's brilliant, alluding to the invisible hand of fate that arches over the whole thing. anton chigurh is one of the most terrifying antagonists i've ever seen, right up to the abominable haircut. he acts a slow moving beast that is completely and utterly confident that he will get the kill he is after; cold and calculated in his every move. even when he is bleeding from a shotgun wound to the leg, he doesn't emote or express pain. in fact, the only time he ever displays disgust is when marriage is brought up. at times, he's not even visible, but still just as vicious and still just as much of a other invisible hand that is always there is change, represented by ed tom bell, the sheriff who sees that the world is speeding right on by past him; "i'm not on their radio." the weapons and the violence are impossible to conceive, and the traditions are falling and dying slowly and surely. what can stop it? not much, all that's left to do is to sit and watch it roll by as you come to terms with the place in time that you reside in as you slow down and settle adore this movie. i love the sound design and the lack of a soundtrack, i love the scenery, i love the southern accents, i love the dialogue. i love that this film tells you that even if you do everything that you can, change and chance can always play their devillish hands, and it either works for you or it doesn't. an all time Anton Chigurh, sullen and strange, is the vengeful ghost of John Calvin, casting his shadow over the South like a revival tent. He wants nothing, absolutely nothing– which is, of course, the fundamental building block of the world. Cormac McCarthy said that “Chigurh” has no real etymology, that he thought it up at random and thought it fit the character. As tends to happen, meaning in language fits phonetics. “Chigurh” means nothing, which is the point– and it sounds, to me, like an onomatopoeia for the screeching of gears in some broken engine. Anton, spirit of the world as a machine damaged beyond repair, spins in the outrage of having been created to serve so senseless a schematic, stripping every gear around him just because he exists. It’s no country for old men not because old men can’t survive there, but because survival simply doesn’t The most nail-biting thriller I've ever seen almost ruined by an ending that just fizzles out without really going anywhere. Yeah, I get that it's symbolic and philosophical and all that jazz, but I think it's a shameful copout for a movie to establish itself as an uncompromisingly violent thriller and then just sort of... end... without much of a really worth the watch. Endlessly quotable, just like Lebowski. "What's the most you've ever lost in a coin toss?"Published I don't get off so much on all the philosophy behind all of this; for me, this movie is about a man that wins by sticking to his morals. He also happens to be the villain. Which sucks. And I hated it. But it was so well done. Damn Banger9/10 amazing movie and the symbolic plot is relatable and makes it a 10Published “No Country for Old Men” is a simple but carefully constructed cat and mouse thriller. It puts aside the goofiness and over-the-top dialogues that made the Coen Brothers famous to instead deliver raw violence and nail-biting suspense, with the complete lack of music constantly emphasizing the gritty and tense atmosphere. The snowy plains of “Fargo” are replaced with the gritty desert landscapes of Texas, the inept criminals give space to cold-blooded professionals, the cops are worn out by age and always one step behind. In the end, it’s not important who dies and who lives, as the plot is just a way like another to underline the profound resignation of a tired sheriff who can’t understand the ages he lives in anymore. I don’t think there’s so much worthy philosophy behind it, but it’s still a perfectly packaged thriller with great cinematography and a notable cast, particularly Josh Brolin as the resourceful redneck and Javier Bardem as the henchman with the ugliest haircut felt like the entirety of this movie was trying so hard to depict bardem as the calculated psychopath he was playing, but in each of his scenes I mostly had an overarching sense of “is that it?”. perhaps it’s just all about expectation. through all the nonsensical gory violence, nihilistic/existential americana, inescapability of life/death and general lack of humanity; themes that are not only heavily present in this movie but scattered throughout the coens’ filmography, I felt that No Country For Old Men was rather hollow. it offers nothing to me. at its core, it feels empty of anything worth talking about. at least for me. on the surface, I can appreciate the shades of morality manifested through the composition of each of the main characters and what each of those represent in the larger context of AMERICA and its moral fabric, but it had me constantly wanting more. I wanted to know so much more about these people, from the most hopeless to the most inhumane, but the general motif of this movie felt like a constrictor to any true sense of deeper characterisation. people would pop in and out with their singularities but with an inability to create a coherent thread through them. maybe it’s the source material, maybe it’s the coens. but it felt more limiting the more it tried sucking you into its decrepit world. in a way where I could just never fully engage. so when it ends i’m provoked with a feeling of appreciation but not much else. like other coen “classics” such as fargo and big lebowski, by its conclusion i’m left merely appreciative for what the movie was, rather than actually loving it and considering it a classic. but maybe the real and more human reason that I didn’t care much for this was just because I was bored. from the procedural, to the chase. nothing really captured my attention and devotion as much as i’d hoped it would. i know what they were going for with the slow pace, but this would’ve really benefitted from a badass score, as shallow as it may sound. i’m a sucker for slow paced movies with purpose, but after the gas station sequence i was basically like “ok i get it” and that’s all. it is what it is Ÿ¤Ÿ»‍♂️ I can now join the small group of people who believe There Will Be Blood should’ve won over this. justice for Votes are used to help determine the most interesting content on RYM. Vote up content that is on-topic, within the rules/guidelines, and will likely stay relevant long-term. Vote down content which breaks the rules. Ethan Coen ve Joel Coenin yazıp yönettiği; Javier Bardem, Josh Brolin, Tommy Lee Jones, Kelly Macdonald, Woody Harrelson gibi isimlerin rol aldığı İhtiyarlara Yer Yok – No Country for Old Men, 2007 yılında izleyici ile buluştu ve 21. yüzyılın en iyi filmleri arasına adını yazdırdı. Cormac McCarthy’nin aynı adlı romanından uyarlanan film, Anton Chigurh ve Llewelyn Moss karakterlerinin bir uyuşturucu pazarlığı içerisinde yollarının kesişmesi ile yaşananları konu alıyor. En İyi Film, En İyi Yönetmen, En İyi Uyarlama Oscar’larını kazanan No Country for Old Men’in bu başarısının ardında geniş bir çalışma yatıyor. Projelendirme aşamasında yapılan ön hazırlıklar, Coen’lerin gözünde canlandırdıkları fikri hayata geçirmek için nasıl bir adanmışlıkla çalıştığının kanıtı niteliğinde. Bir kader, vicdan ve şiddet sorgulaması olan No Country for Old Men’in muhteşem görüntülerinde imzası olan Roger Deakins’i de elbette unutmamak gerek. Oyuncu seçimlerinden hikâyesine, hazırlık aşamasından uyarlandığı romanla ilişkisine, yakın dönem Amerikan sinemasının en önemli eserlerinden No Country for Old Men hakkında bilinmesi gereken 15 detayı derledik. No Country for Old Men Hakkında Mutlaka Bilinmesi Gereken 15 Detay Coen Kardeşler’in Javier Bardem Tercihi Filmin yönetmenleri Joel ve Ethan Coen, Chigurh rolünü oynaması için Javier Bardem ile konuştuklarında oyuncu yönetmenlere “Araba sürmeyi bilmiyorum, İngilizce’m kötü ve şiddetten nefret ederim.” cevabını veriyor. Bunun üzerine Coen Kardeşler, Bardem’e “İşte bu yüzden seninle konuşuyoruz.” diyor. Bardem, Coen Kardeşler ile çalışmak hayali olduğu için rolü almayı kabul ediyor. Yönetmenler, Chigurh’un saç modeli için bir genelev işletmecisinin 1979 yılında çekilmiş fotoğrafından yararlandılar. Bardem saç modelini ilk gördüğünde “Ah hayır! Şimdi iki ay biriyle birlikte olamayacağım.” tepkisini veriyor. Yönetmenler istedikleri modeli bulduklarını ifade ediyor. Bardem’in tepkisi, Chigurh’un Coenler’in umdukları kadar ürkütücü görüneceği anlamına geliyordu. Sahte Kanın Maliyeti Filmin tahmin edilemeyen masraflarından biri makyaj departmanının 1 galonunu 3,78 litre 800 dolardan aldığı sahte kandı. Joel Coen, Llewelyn’in bir silahlı çatışmanın ardından tökezlediği ve etrafta ölü hâlde yatan pek çok figüranın bulunduğu sahneyi çekmeye geldiğinde neden bu kadar çok para harcadıklarını anladı. Şekerden yapılan sıradan sahte kan böcek ve haşaratları daha çok çekeceği için yerde yatan figüranlar için büyük sorun teşkil edecekti. Ancak pahalı kan sayesinde böyle bir sorun yaşamadan sahneyi çekebildiler. There Will Be Blood Çekimleri İle Çakışması Filmin Teksas’ta çekimleri yapılırken setin yakınlarında There Will Be Blood filminin de çekimleri vardı. Bir gün Coenler, alanın geniş plan çekimlerini yaparken devasa kara bir dumanın görüldüğü için çekimi durdurmak zorunda kaldı. Dumanın nedeni ise There Will Be Blood filminin yönetmeni Paul Thomas Anderson’ın sette yanan petrol sondaj kulesinin pirotekniğini test etmesiydi. Coenler ise dumanın tamamen temizlendiği ertesi gün çekimlerine devam edebildi. Yaklaşık bir buçuk yıl sonra iki film de Oscar ödüllerinde boy gösterdi. There Is No Country For Old Men Filmin adı William Butler Yeats’in Sailing to Byzantium şiirinin ilk mısrasından alınma. Mısranın tamamı ise “There is no country for old men.” Şiir, ölümün kıyısındaki yaşlı bir adamın ölümden sonra ne olduğunu merak etmesi ile ilgili. Bu tema bir bakıma kanun adamı olmayı bıraktıktan sonra yaşamının nasıl olacağını merak eden Sheriff Bell karakteri üzerinden işleniyor. Kurgucu Roderick Jaynes Filmin jeneriğinde kurgucu olarak gözüken Roderick Jaynes, 1984 yapımı Blood Simple filminden beri tüm filmleri beraber yazıp, yöneten ve kurgulayan Ethan ve Joel Coen’in takma adı. Meslek birliğinin üyelik kuralları gereğince aynı filmde iki kurgucunun bulunamamasından dolayı Coen Kardeşler böyle bir yol izliyor. Aynı isim Oscar adayı Fargo filminde de geçiyor. Ancak Coenler kurgu dalında bir Oscar elde edemediler. Joel Coen, Jaynes’in bir gün Oscar alması durumunda Akademi’nin, ödül töreni sunucusunun ödülü Jaynes adına kabul etmesine izin vereceğini söyledi. ABD Dışındaki İlk Karakter Josh Brolin’in canlandırdığı Llewelyn Moss, Meksika sınırını aşarak bir Coen Kardeşler filminde ABD dışına çıkan ilk karakter oldu. Katkıda bulundukları 2006 yapımı antoloji filmi Paris, je t’aime haricinde Coen Kardeşler’in yönettiği hiçbir film ABD dışında geçmiyor. Carla Jean Moss Anton Chigurh’un Carla Jean Moss’u öldürdüğünü düşündüren güçlü görsel izler bulunuyor. Chigurh, üzerinde kan olmasından hoşlanmıyor. Duşta birini vurmadan önce kanın üzerine sıçramaması için duş perdesini çekiyor. Meksikalıları otelde vurduktan sonra kana bulandığını düşündüğü çoraplarını çıkarıyor. Wells’i vurduktan sonra ayaklarını yere basmadan Carla Jean’ın annesinin evinden ayrıldıktan sonra botlarının tabanını kontrol etmek için durması, Moss’u da öldürdüğünü düşündürüyor. Oteldeki Chigurh’a Dair Bir Teori Bir teoriye göre Sheriff Bell’in Llewelyn Moss’un öldürüldüğü oteli ziyaret ettiğinde, kapıyı açtığında yan odada Chigurh vardı. Çünkü Moss ve Meksika çetesi yan yana odalar kiralamışlardı. İki oda arasında yapılan tercihin karakterin akıbetini belirlemesiyle gelen yüzde elli elli durumu, Chigurh’un yazı tura atmasıyla paralellik taşıyor. Sheriff Bell, Chirgurh’un olmadığı odayı seçiyor. Chigurh’un kapının arkasında nasıl saklandığı ve kapının nasıl açıldığı incelendiğinde, diğer kapı olduğu anlaşılacaktır. Kitaptaki ve Filmdeki Sahneler Filmde yer alan sahnelerin büyük bölümü uyarladığı kitaptan birebir alınmış olsa da, film kitaptaki pek çok bölümü dışarıda bırakıyor. Chigurh’un vurulduktan sonra 5 gün boyunca otelde kaldığı ve Sheriff’in geldiğinde ayrıldığı, Chigurh’un Moss ile sokakta yüzleşirken Meksikalıların geldiği, Wells’in bir apartman dairesinde Chigurh, Moss ve Meksikalılar arasındaki hesaplaşmada serseri bir kurşunla öldürülen yaşlı bir kadını bulduğu, Sherif Bell’in Chigurh’un Moss’u başında silahın açtığı bir delikle ölü halde bulduğu oteli bulduğu sahneler buna örnek gösterilebilir. Kitabın başında filmde de ilk sahneye denk gelen yerde Chigurh’un neden tutuklandığı kitapta açıklanıyor. Filme eklenen büyük sahneler Chigurh’un Wells’i işe alan adamı öldürdüğü sahnenin ikinci yarısı olan Mariachi takımının olduğu sahne ile tavuk çiftçisinin olduğu sahnelerdi. Moss’un yüzme havuzunun başına bir kadınla konuştuğu sahne kitapta bulunmuyor. Ancak eklenen bir sahneden çok alternatif bir sahneydi. Kitapta Moss’un El Paso yolunda otostop yapan kızla konuştuğu sahnenin yerini alıyor. Ayrıca, filmdeki diyaloglar kitaptan alınmış olsa da kitaptaki karakterler arasındaki konuşmaların çoğu kısaltıldı. Josh Brolin, No Country for Old Men filmindeki Llewelyn rolü için görüşmelere başladığı sırada Grindhouse filminin çekimleri ile meşguldü ve bu yüzden seçmeler için göndereceği kaydı sette yapması gerekiyordu. Bu amaç doğrultusunda Robert Rodriguez’e bir kamera alıp alamayacağını soran Brolin, hiç beklemediği bir sonuçla karşılaştı. Çünkü Brolin’in No Country for Old Men’in oyuncu seçmeleri için çektiği video, Quentin Tarantino tarafından Grindhouse için kullanılan profesyonel kameralarla çekildi. Carla Jean karakterine de Marley Shelton hayat verdi. Coenler Brolin’in kasetini izlediklerinde, ışıklandırmayı çok sevdiklerini söylediler. Mariachi Şarkısı ve Filmin Hikâyesi Moss, Meksika sınırı geçip yerde yaralı biçimde yatarken bir Mariachi grubu ona şarkı söylemeye başlıyor. Söyledikleri sözler “Kanatların olmadan uçmak, gökyüzüne dokunmak, çok zengin olmak istedin. Ateşle oynamak istedin.” Bu sözler bir bakıma filmin hikâyesine bir gönderme olarak kabul edilebilir. Llewelyn Moss Rolü ve Heath Ledger Llewelyn Moss rolü için Heath Ledger ile görüşmeler yapılmıştı. Ancak oyuncu filmde rol almak yerine biraz ara vermek istediğini bildirdi. Daha sonra 2008 yılındaki The Dark Knight filmindeki Joker rolü ile Ledger, Chigurh’a benzeyen sosyopat bir katil rolünde yer aldı. Wendell rolünü almadan önce Garret Dillahaunt da tam beş defa Llewelyn Moss rolü için seçmelere girdi. Filmin Oscar Ödüllerindeki Başarısı No Country for Old Men, En İyi Yönetmen Oscarı’nın aynı filmde iki yönetmen arasında paylaşıldığı ikinci film. İlki ise yönetmenliğini Jerome Robbins ve Robert Wise’ın üstlendiği 1961 yapımı West Side Story. Akademi, yönetmenlikte birden fazla kişinin isminin yazmasına karşı bir tutum sergiliyor. Ancak Coen Kardeşler gibi ikili yönetmenler olduklarında istisna yapabiliyorlar. Öte yandan Javier Bardem bu filmle birlikte Oscar kazanan ilk İspanyol aktör oldu. Bardem aynı zamanda 2000 yapımı Before Night Falls filmi ile Oscar’a aday gösterilen ilk İspanyol aktör de olmuştu. Ayrıca Javier Bardem, aynı rol ile En İyi Yardımcı Erkek Oyuncu Oscarı, SAGAwards, BAFTA, Altın Küre ve Critic’s Choice Awards ödüllerinin hepsini kazanan ilk aktör oldu. Woody Harrelson’ın Roman İle Bağlantısı Filmde çalınan 2 milyon doları bulmak için işe alınan eski bir albayı canlandıran Woody Harrelson ile filmin uyarlandığı roman arasında ilginç bir bağ bulunuyor. Romanda Sheriff Bell, uyuşturucu satıcılarının San Antonio’da bir Federal Hakimi vurarak öldürdüğünden bahsediyor. 1980’de geçen hikâyedeki bu ölüm ile 1979’da vurularak öldürülen Federal Yargıç John Howland Wood’a atıfta bulunuluyor. Yargıç Wood’un katili ise Woody Harrelson’ın bir tetikçi olan babası Charles Harrelson’dan başkası değil. Filmin 1980 Yılında Geçiyor Oluşu Kitaptaki gibi film de 1980 yılında geçiyor. Filmde görülen bazı silahlar o zamanlarda bulunmayan silahlardı. Jones’ Colt Government Model Enhanced Series 80, ilk olarak 1990’lı yılların başında üretildi. Bardem’in iki rakibini çölde öldürmek için kullandığı The Glock 9mm ise henüz yapılmamıştı. Anton Chigurh’un akaryakıt istasyonunda yazı tura attığı para 1958 tarihliydi. Carla Jean’in annesinin mezarında ise 1922-1980 yazıyor. Küçük bir hesap işlemi ile yaşı parada olduğu gibi 58 olduğunu gösteriyor. Kaynak IMDB

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