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     Anand_n Junior Artist Username: Anand_n Post Number: 63 Registered: 02-2008 Posted From: 68.206.96.234 Rating: N/A |
Intriguing philosophical analogy...couldn't understand the parallel between the coat and shirt in the allegory though... Reminded me of another one I had read couple decades ago by Khaled Mohammed on Darr - about SRK's char being allegorically a manifestation of the fears/doubts in a girl's mind about marriage... | ||
| Navatarangam Junior Artist Username: Navatarangam Post Number: 25 Registered: 02-2008 Posted From: 195.10.3.194 Rating: N/A |
Agreeing or disagreeing aside, its an interesting take on No Country....I never saw that in that angle...another reason for me to go and catch it once more today... | ||
| Simply_rdb Junior Artist Username: Simply_rdb Post Number: 308 Registered: 05-2007 Posted From: 202.133.58.84 Rating: N/A |
"NO COUNTRY FOR OLD MEN is an ALLEGORY. The title is from the first line of Sailing to Byzantium by William Butler Yeats, a poet classically trained and considered by many to be the greatest 20th Century poet. Death is Anton Chigurh. His hair style (hood-ish, shroud-ish) and black clothing suggest Death. Death kills the innocent as well as the guilty and has his own set of rules. When the witness to the high-rise killing asks, “Are you going to kill me?” Death answers, “It depends. Do you see me?” When the kids on the bicycles help him after the car accident he tells them, “You didn’t see me.” If you see Death, you die; if not, you may live. Chigurh seems to come and go at will and seems to know where Moss is without trying very hard. His rules are his rules and they seem arbitrary and random. He is referred to by the sheriff as a “ghost” and he seems to be able to go wherever he pleases. Death kills with a cattle stun gun, almost like a member of the clergy administering a cross to the forehead of a parishoner. Death is often portrayed as a hooded figure with a scythe; in this case he’s a “hooded” figure with a cattle stun gun. Man is Llewellen Moss, part sinner, part saint. He is offered a deal with Death when Death offers to ignore his wife but take him. Instead, Llewellen challenges Death and chooses declines the offer. This is straight Faustian bargaining. By declining Death’s “This is the best deal you’re gonna get” Moss signs not only his own death warrant but his wife’s, too. Llewellen challenges Death to a showdown and when his wife tells the sheriff, “He won’t quit, neither. Never has.” the audience expects a later showdown because we’ve been trained to see the protagonist take on the antagonist at the climax of a story — but before that can happen life’s randomness gets in the way and the Mexicans kill him. This is the major turn in the movie and the one that takes the sail out of the audience, which has been cheering for Man in his struggle against Death without realizing it. Free Will is Carla Jean. She chooses at the end of the film not to allow Death to be random. She has a 50% chance of saving herself but chooses not to avail herself of the opportunity. She is the bravest of the lot, choosing to die by her own decision and not the randomness of Death. The sheriff is the philosopher trying to understand the universe. He cannot and is defeated by Death in his attempt. At the movie’s end the Sheriff bemoans the fact that God never entered his life. One of God’s creatures, Death, was in the Sheriff’s life but he didn’t realize it (see “Scene with Sheriff” below). The story is the Sheriff’s, his quest to understand Life, and the dream he tells at the end of the movie explains that his own father, long dead, has gone before him into the darkness of death and awaits him. Interesting parallel — Moss pays money for a coat as he crosses into Mexico; Chigurh pays the kids money for a shirt after his accident. What is meant by that? Cannot be a coincidence. Chigurh walking away from the accident at the end shows that Death cannot be stopped. It will always walk the streets. It is a part of our existence forever. Scene with the Sheriff and Death at the same hotel room at the same time but the Sheriff does not see Death. This scene is vital — it solidifies the allegory. The Sheriff enters the room but does not see Death and so he does not die. Death sees the sheriff but chooses not to kill him because he’s not seen in return. This scene is the “supernatural” scene which signals that we’ve watching an allegory, that what we’ve been watching is more than it appears. |
