Movie Analysis : No Country For Old Men

The movie “12 Angry Men” by William Friedkin, was a movie that's purpose was to send the viewers a message and that message was to have the audience ask themselves “are facts really facts?”. At the beginning of the movie 11 out of the 12 jurors were confident and sure that “the kid” was guilty of stabbing his father to death, but as the movie continues they start to actually realize that the facts may not be facts after all. The director also plays with the background affects (lighting) to show a change in behavior and attitude in the characters throughout the film, by doing this it allows the audience to become captured but the setting and dialogue.

Sheriff Ed Tom Bell is the man with the plan casually known as the main protagonist in the film No Country For Old Men by Cormac McCarthy. Sheriff Bell who is fighting for good against evil in wild west Texas, he is a very succinct man with a very serious manner. Bell is such a stand up guy plus he follows the law and shows traits of being a leader. Shown in the film he never missed a chance to soak up information from the veterans so he could succeed in the short and long term. Along with receiving information, he effortlessly offers his knowledge to others. Only trying to help Sheriff Bell puts his best foot forward. Effortless he shows his love for the law by being in the in the field for 25 years without any issues. Following his grandfather’s and father's footsteps, Sheriff Bell pledged to himself to fight crime and help better the community around him. Sheriff Bell with a little hard work and violence on the job, completes the tasks at hand. Living by the motto “You would have to die to do this job” (No Country For Old Men) helps him prepare for worst case scenarios. Sheriff Bell wakes up and risks his life day to day. Being a strong man this job is the survival of the fittest. Sheriff Ed Tom Bell demonstrates a law enforcement officer who encounters an evil that he can’t understand and puts him off track.

In Cormac McCarthy’s “No Country For Old Men,” fate plays a significant role in the novel and is present in the lives of each of the characters he portrays. Fate, as defined in the dictionary, is “the will or principle or determining cause by which things in general are believed to come to be as they are or events to happen as they do.” The theme of fate is demonstrated in all of the characters in the novel, but most evidently in Llewellyn Moss, Ed Tom Bell, Carla Jean, Carson Wells, and Anton Chigurh. Fate is the main difference that lies between all of these characters. In his interactions with other characters, Anton Chigurh continually suggests that each and every choice we make determines our fate.

No Country for Old Men is a 2007 movie written and directed by The Coen Brothers, originally based on the novel of Cormac McCarthy with the same name. No Country For Old Men centers on one man’s theft of two million dollars from a drug deal, and pursuit that follows on from his theft and which results in his death. Thus, the film is chase and crime movie and also a detective story. The crime-images in this film raise questions about whether the achievement of justice in the encounter between law and violence of the serial killer is impossible. In the movie, there are three main characters, Anton Chigurh, Llewelyn Moss, and Ed Tom Bell and each of them presents an example of a familiar Western character: Anton as an outlaw man who lives by his gun; Llewelyn as the opportunistic, solid but defeated citizen and Ed Tom as a lawman who tries to maintain order and practices justice.

A genre in a film uses familiar story formulas, character types, settings and all of which lead viewers to have a certain perception about what the movie will be like before actually watching it (Goodykoontz, B., & Jacobs, 2014). In many instances, genres produce an explanation of the film. Evidently, this paper focuses on westerns as the main theme; this movie depicts notions of molarity tales, ironic tales and describes the notion of a classical look of the old western times. Additionally, this film genre has portrayed much about America 's past, glorifying the past-fading values and aspirations of the mythical by-gone age of the West.

This essay is based on films of the same story, told in different ways, with emphasis, themes, meaning and interpretation shaped or shaded by the situation of the storyteller; the cinematic mise-en-scene. Based on the same story, the films reveal and reflect the film-maker’s social norms and views, emerging from their different national contexts. While exploring the two films, this essay will examine elements of film language or semiotics: color saturation (or black and white), sound, setting, type of camera angles used; repetition of visual motifs (Metz, 1985). The two films explored were made in the 1960s. Neither film is American, yet both reveal influences and reflections on American cinema and American power; the Western film, adherence or detracting from Hollywood Classical cinema tropes, i.e. close-ups, shot-reverse-shot, POV, depth of field (Bazin, 1985: 128-9). The two films are Kurasawa’s Yojimbo (1961) and Leone’s Fistful of Dollars (1964), from Japan and Italy, respectively. How are they different; how similar? Why do they use the same plot,

People are always stereotyping and racial profiling others over their skin color. In the documentary Us Against The World, Rodrick Rhodes an African American former NBA player is hired as the head coach of Cordia high school. Rhodes is welcomed in the beginning but soon discriminated by the townspeople and school board members. Cordia high school wasn’t the best at basketball but when Rhodes was hired they went 20-9 and soon won the 2016 All A’s Basketball Championship. After they won the championship Rhodes’s contract was not renewed because he was accused of recruiting players from different schools.

“We have perfected our weapons, our conscience has fallen asleep, and we have sharpened our ideas to justify ourselves as if it were normal we continue to sow destruction, pain, death. Violence and war lead only to death.” Famed human rights activist Mahatma Gandhi explains that violence has become all too mundane in the Modern Day; humans have become far too comfortable with committing atrocities. Furthermore, the path of violence is a sinister one, the end only brings suffering and death, and escape is all but impossible. Throughout history violence has been present throughout all interactions of mankind, the human race has killed millions of its own, and burned great empires to nothing more than rubble. Thus, the question arises, how does

The films Stagecoach (1939), High Noon (1952) and Unforgiven (1992) lend from popular themes from frontier myths, however they employ these themes in different ways that are representative of the social change present during the decades in which they were produced. These themes include gender roles, villains, and the issue of justice within a community, glamorization of violence and the genre-typical structure of the Western move. An overall trend in the Western genre is evident in the way that these movies continuously challenge the “progress” that was representative of the frontier West. Initially, western films did not have any social connotations attached to them other than the glamorization of the west, but as the films progressed with time we see this time evolving.

The movie that I chose to write this research paper is called No Country for Old Men (Ethan Coen, Joel Coen and Scott Rudin, 2007). The movie takes place in Texas and it is about a man named Llewelyn Moss who is out hunting deer and comes across a drug deal. He sees trucks parked in a circle and discovers numerous dead bodies of drug dealers who have all killed each other in an exchange gone violently wrong. Llewelyn does not report this to the police because he finds two millions dollars and decided to keep it. Llewelyn makes the mistake to go back and finds himself in trouble when more drug dealers show up to retrieve their money, Llewelyn manages to escape. The drug dealer’s boss hires a man named Anton Chigurh to track him down and

The book “No Country for Old Men” by Cormac McCarthy has an interesting plot and would surprise you of the outcome. The plot of the movie involves many characters and effects so many of them in many different ways. The plot all starts off with one of the main characters Llewelyn Moss stumbling upon a scene where there was an “Drug deal gone wrong” and he looked around the scene and found a brief case full of money and took it and now Moss is running away with the money. Now there are very bad people after Moss and the money including the other main character Anton Chigurh. Anton Chigurh is mainly the person after Moss because he stole the money and anyone that gets in Chigurh’s way on his quest gets killed.

Christian Ullman Rebecca Romanow FLM-352 30 April 2015 Final Essay Throughout the semester, we’ve watched quite a few movies that represent “chaos cinema” and "slow cinema". Stork claims that, chaos cinema has a very distinct style that "trades visual intelligibility for sensory overload." According to Flanagan, slow cinema emphasizes on "the employment of long takes, decentered and understated modes of storytelling, and a pronounced emphasis on quietude and the everyday...an aesthetic of slow." Strange Days (Kathryn Bigelow) and The Wild Bunch (Sam Peckinpah) are two movies that seem to follow the "classical cinema" formula, and at the same time, resemble both chaos and slow cinema in different ways and at different times.

For most Americans in this age, the word “cowboy” will call to mind iconic images of a horseman wearing a wide-brimmed hat, a belt of bullets, and a flannel shirt; he might be guiding his herd lazily along grassy plains, singing folk songs around a campfire with his companions under a starry sky, riding off with a beautiful ranch girl into an iconic sunset backdrop, or even wearing a mask and enforcing vigilante justice in a small town terrorized by hardened western thugs or hostile Native Americans. These clichés are drawn mostly from the hundreds of movies and television productions that claim the title “Western”. This cinematic conception of the cowboy was a personification of the American spirit of rugged individualism and intrepid pioneering but it is largely only the result of Hollywood westerns of the 20th century, and not consistent with the actual reality of cowboy life.

The hit film “A Few Good Men” which stars Tom Cruise as Lt. Daniel Kaffe, Demi Moore, as Lt. Cdr. JoAnne Galloway and Jack Nicholson as Col. Nathan R. Jessep, gives us an in-depth look on a major role in our criminal justice system. The film depicts the events and steps that are taken leading into the trial, as well as inside the courtroom of our criminal justice system. I got the film from a friend who had it on DVD at his house and he allowed me to borrow it for the assignment. Throughout the movie there is more then enough themes to relate to our class and the court system, but there are 5 that I will talk about. The first well be the aspects of plea-bargaining and how it plays a role throughout the movie. The second theme I will discuss will be the witnesses and how they played the roll through out the movie alone with our system. For the third theme I was discuss the very subtle, but important role that the bailiffs have. My fourth theme I will point out the role of the judge what is seen multiple times in the movie. My fifth and final point I will talk about the roles of the defense attorney plays.

Before going in-depth to the history of the Western genre, it is important to note the film conventions of the genre because they are incredibly influential to the movement of the genre cycle. The structure of the Classic Western is set up with a hero and a villain in a town. Will Wright says, “Each film is the story of a hero who is somehow estranged from his society but on whose ability rests the fate of that society. The villains threatened the society until the hero acts to protect and save it” (Wright, 1975). This is the classical plot for a western, while a vengeance plot in the western is “the vengeance hero leaves the society because of his strength and their weakness and abandons his fight because of these same values (of society)” (Wright, 1975). Some of these conventions can also be seen as cliché because of the myths tied together with the Western. These include opening scenes of vast landscapes or when “a cowboy makes a dramatic entrance through the batwing saloon doors, the man playing the piano abruptly stops” (Varner, 2008) or the more obvious, the hero riding off into the sunset at the end of the film. (Varner, 2008) The Western conventions then evolve over time until the end of the Classic Westerns, in which Spaghetti Westerns, parodies, and Post Westerns can easily point out the conventions and use them to make a new story.