Western films are almost old as the cinema itself, developing from the wild west of the late 19th century and moving to celluloid over the time when the adventures of America's border disappeared in the myth. It is fair to say that the genre had several rock patches during the intervened 125 years or so (most important in the 80's after the "Heavenly Gate" debacle), but these films never disappear- the west are deeply rooted in our cultural psyche. 21st Century filmmakers always find new ways to maintain the genre relevant, whether it uses the spaghetti west format to deal with racism and slavery ("angongo non-smooth") or to re-map the boundaries of the new border to solve the cons. Meanwhile, the Cohen brothers used the classic white cap against the scenario of "black hats" as a neat metaphor to investigate the violence that torments society and the coincidence of fate in "no country for old people".

Watches in number six on Newoux Times' The list of "Best 21st Century Films" and are regularly named as one of Best West For the past 25 years, "no country for the elderly" has been an amazing return to the form of Elloel and Ethan Cohen in the mid-2000s. Following the two of the worst comedies in their career ("unbearable cruelty" and "Ladyclists") they turned Kormak McCarthy's novel in 2005 As an inspiration for one of their best films. The sisters and sisters had earlier adapted the material of other people, such as Dashiel Hammet's "The Glass Key" for "crossing Miller", but they had previously put their unique spin on Koneska. On this occasion, the brothers kept it quite faithfully to the book and produced what was considered their most mature film to date.

Considering their trademark loose dialogue and eclectic soundtracks, the film was the return of wide open spaces of Texan and deadly silence to their tight debut, "Simple Blood". The usual pessimism, which was previously offset by unusual humor, shoots from strange violence and twisting of the genre, hardened into something more sad and deep. Everyone just ate it. "No country for old men" was a critical and commercial success and won four of the eight Oscars for which he received nominations for, including a prestigious hat-trick for the brothers (best picture, director and adapted scenario). Let's look closely.

Posted in Texas in the early 1980s, "no country for old people" opens with the aging of the sheriff's Ed Tom Bell (Tommy Lee Onesons) regrets the old days when lawmakers like him should not wear a gun. Approaching retirement and struggling to understand the violent modern world, his last case will strengthen his pessimism: as he says, we see one of his deputies being brutally killed by Anton Figur (Javier Bardem), a mysterious killer whose weapon is a trapped gun.

Elsewhere, Lelelin Moss (Oshosch Brolin) is out into the hunting of the desert when stumbling on the heinous scene. The drug deal has turned into a bloodshed, leaving only one deadly survivor, entire stacks of drugs and a bag containing $ 2 million. Moss took Gotovina and headed home to his wife Carla Jeanan (Kelly McDonald), but returned later that night, feeling guilty of ignoring the dying man's plea for water. It is too late, and Moss just closely escaped his life when other gang members arrive to return the money.

Sending Carla Jeanan to stay with her mother for security, Moss headed for Mexico with prey. Figur is hired to recover money, assisted by the tracking device hidden in one of the bundles. Carson Wells (Woody Harrelson), a sales hunter, offers to protect Moss in exchange for money, but fulfills a similar fate when he met the killer. Bell is also the case of a shootout in the cartel, delayed after Figur and his prey in the south. But can he intervene in time to save Moss and his wife?

"No Earth for Old People" is one of the safest and suspicious films of the Cohen brothers, non -hazardous to such elegant power that has finally silenced the critics who once rejected them as snarky young Misanthropes who were all style and without substance. It was also an authoritative bookstore until the first two decades of their career, taking away most of the usual stylish quires and leaving the story to make the story. Working with master cinematographer Roger Dekins, the frame is often filled with empty landscape spaces, indicating that humanity's presence is only fleeting. Coen's reason was aided by uniform excellent performances, especially by Brolin, Onesons and Bardem, who won the Oscar, who showed Figur with a tranquil sense of maliciousness.

On the surface, "no country for old people" is another of the Cohen Brothers' hustle bag, a well -known trophy that allows them to explore mankind in all its weakness, greed, absurdity and attraction of the whims of fate. In their world, the gracious choice of how to spare human life ("Miller's transition") can prove to be just as dangerous as an unethical ("serious man") - it's all about the cosmos and there is no way to know the arbitrary outcome until you make your call. What is happening around, and this idea is reinforced with the regular motif of coens of circular or rotating objects, such as hats, hulls, garbage, hair bins. Here, the coincidence and fate of the brothers before the occupation is reduced to one blow of coins.

Anton Figur is a man. We see him bleeding, suggesting that he is mortal. However, he moves through the film as a supernatural self -named agent of fate, occasionally experiencing to spare one's life if they can properly call them heads or tails. It seems almost dirt, because it relentlessly follows Moss and kills someone else who enters the road, but significantly, even he is subject to the same forces of fate. Saying, after a victim refuses to participate in throwing money, his outcome is delayed because he is involved in a life -threatening random life.

"Not a single country for the elderly" is one of The best films of the Cohen brothers And also their most ridiculous to this day, the one that captures the tense and uncertain mood in the years after the attacks of 11.09. We are all destined to die, and our lives are shortened or continued with the elections we make. Against this topic, we get a classic western white hat (Ed Tom Bell) and a black hat (Figur), but the chances are ranked in favor of evil, as the last runs brazen while Bell is always two moves behind the action. Conversely, the concept of good is almost a strong concept because Bell is afraid of its irrelevance in a world that can no longer understand. Moss is just caught in the middle, just trying to stay one step ahead of the fate he resolved for himself when he left with the money.