•
Rating:
There are principles that cannot be violated. And this is called morality.
There are some principles that are willingly violated even though doing so is wrong. And this is called immorality.
And finally, there’s putting oneself above every moral principle. And this is called amorality (or selfishness, if you prefer).
Three ethics for three banal characters: an old wise man with a sad demeanor, now tired of this country; an unsettling long-haired man; a sleazy mustached man who decides right and wrong based on his sense of guilt.
It starts badly. It gets worse. A banal briefcase. A banal chase. No words. No music. And you impatiently wonder: when does the movie start?
Then, after two hours of yawns, as you watch the villain walk away and get away with it, the truth appears to you larger and more brilliant than the sun. Saint and criminal victorious; selfish loser and without Paradise. With the cold face condemning him to hell quoting the Gospel perfectly: “He only thought about saving himself.”
Precisely that cold face which, shortly after the beginning, was entrusted with the task of giving us the moral: CHOOSE!
Better a heart of stone than no heart at all.
But wait a moment: this was already told to us by the wise master with almond eyes that we loved so much as children:
“Daniel San,
If you walk on the right, good.
If you walk on the left, good.
If you walk in the middle of the road, sooner or later crack.”
A tempting question peeks out: the greatest of all time?
Loading comments slowly
Other reviews
By Rooftrampler92
Each character is as sly as a fox: Moss, clever and skilled at hiding.
It is no longer a country for old men.
By Blackdog
Death has the oblique face and sensational haircut of killer Anton Chigurh (Javier Bardem, astonishing).
No Country for Old Men is probably a tombstone for the tongue-in-cheek cinema of Joel and Ethan Coen.
By Rax
If this film were a man, it would be a silent and wise old man.
The essence of the film is in the memorable phrase of Javier in the chilling counter scene: 'CHOOSE!'
By stargazer
The cinematic journey of the Coen brothers is like an oscillator, starting from a point, moving away but eventually always returning to the starting point.
A refined film with strong contrasts, violent and with deep moral undertones, you expect a showdown, but instead, you only get the internal reckoning of Sheriff Bell.
