"No Country for Old Men": Thoughtful, Frighteneing, and Beguiling

I was going to write a review of No Country for Old Men myself but then I found this review and I felt that I couldn't have agreed more or said it better:

When a film ends with the recounting of a dream in which a weather-beaten, life-weary man searches for the fire his father is building to warm them, it's impossible not to think of the love we all yearn for and can hopefully muster. It's also a welcome spiritual respite when that film has seduced its audience on a journey into a hell of the relentless violence that follows a man after he steals drug money in the naïve belief that its owners might ignore him, and the slow-moving chase that ensues when a truly psychopathic person pursues the man and the cash. No Country for Old Men, the new picture from the Coen Brothers, based on Cormac McCarthy's 2005 novel, is probably the most accomplished film released this year.

I'll do my best to avoid spoilers, as it would be unfair to assume that readers have seen it. So I must skirt around the issues that cause me to praise this film so highly. In short, No Country for Old Men is a slow, thoughtful, frightening, and beguiling film about the selfishness of people and the desperate need to restore the virtue of community bonds. Its central character – called Anton Chigurh, and played by Javier Bardem – is one of the most titanic characterizations of evil intent I've ever seen in a film. He simply kills what gets in his way, and even plays sport with some of his potential victims - inviting them to toss a coin to determine their fate. Josh Brolin is the man who finds the money belonging to Chigurh's employers, and Tommy Lee Jones the sheriff baffled by the trail of death that ensues in their wake.We follow these characters - scared of the killer, ashamed of the thief, and hoping against hope for the sheriff. We look away from the screen when the violence occurs, but may perhaps feel a little horrified by the fact that a part of us still wants to watch. And when one character finally stands up to Chigurh, it is not with physical violence, but by simply speaking and refusing to accept his games, forcing him to face the fact that he, and he alone, is responsible for his murderous ways.

This film does not suggest that – as some critics have implied – there is no way to stop evil, but rather that we live in an age where we need to find new ways of resisting the violence many of us face. It doesn't provide simplistic answers, but suggests that the path may be found in such things as renewing the bonds of community and mutual respect, refusing to accept the moral reasoning of those who resort to force at the drop of a hat, and embracing something like the vision of the 5th century BCE Chinese thinker Mozi:'If every man were to regard the pain of others as his own person, who would inflict pain and injury on others?'The country where violence is king may indeed be no country for old men; but, to my mind at least, the film that takes this term as its title offers nothing less than a prophetic reflection on the most important question facing humanity today: Where do we go from here?

Gareth Higgins is a Christian writer and activist in Belfast, Northern Ireland. For the past decade he was the founder/director of the zero28 project, an initiative addressing questions of peace, justice, and culture. He is the author of the insightful How Movies Helped Save My Soul and blogs at http://www.godisnotelsewhere.blogspot.com/