a cowboy picked up the two million as their own thing, in order that it can stay in a hotel with innocent passengers face the death worthy of color, but also on his wife's life and open a killer roulette.
His wife can allow her husband to live and die for this ill-gotten wealth, or in the face of a killer, clinging to stupidity in order to preserve a certain spiritual "advantage" and give up 1/2 the chance of survival.
An old sergeant used fraudulent means to obtain intelligence, indifferent to the miserable life of the elderly father.
An old father can't take care of his own life at all, yet he poses a clever image when his son enters the door.
In order to pursue toughness, a killer has no idea what beauty is, leaving a ugly head shape.
Once you pierce the "tyrannical" window paper, everything in the film will be incomprehensible. And I suddenly understood this when the killer healed himself. The battles in the film are not about good or evil, but rather a duel between the tougher and the tougher. And the killer who abandoned everything in order to win becomes the ultimate existence. The confrontation between him and the cowboy wife became the climax of the film-if the first half of the film still implies that money is the root of this obsessive "strong" heterochromatic value, then here, this Values have completely completed their own transformation, emerged from the embrace of money, and become "strong is truth" such an existence that is its own purpose.
So, the killer killed the cowboy wife, just to psychologically completely suppress the cowboy who was once a match for him, even if the other party was already dead. A wife who fully agrees with her husband's values would rather die than give up her little "advantage" (or dignity). The killing in this situation is far more tragic and ridiculous than the duel between a cowboy and a killer.
In this case, it is not difficult to understand who is the protagonist in the film and why is so blurred. This can be regarded as a trap by the Coen brothers. Although the Coen brothers worked hard to reduce the allegorical nature of the film, they still left an obvious clue in the setting of several main characters. When he was young, he was unrestrained and unrestrained. After being a little older, he will be cautious and hot, but with the fetters of the family, he will be shot in the cold if he doesn't pay attention. I was exhausted when I was middle-aged, but occasionally I still had ambitions to join the struggle of young people, but I was frightened after a step. Finally, when I was old and weak, I was ignored and abandoned by the people around me, and I was alone. All this is just a metaphor for the life that a person who only fights for "strong" will spend. Almost all the main characters are used in the film to depict the true protagonist of the cult of violence. And the two cycling boys, judging from their attitude towards killers, are being attracted to take the first step on this violent road.
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The play is in the play, but also outside the play. Why so many people can’t understand such a simple film is actually worth considering. All along, Hollywood movies, especially the so-called heroic blockbusters. It is often filled with the argument that “power is the truth”. Under the guidance of this strong culture, the audience is often numb to the distinction between good and evil. Cowboys' actions in the film may be regarded as personal heroes who seek happiness for the family in other movies. Therefore, the coveting of the $2 million picked by the roadside is taken for granted, and only the killing of other lives touches the boundaries of people's right and wrong (it happens that the recent Jumper nakedly embodies this moral alienation). The cunningness of the Coen brothers is that they deliberately confuse right and wrong concepts with a Hollywood-style narrative style (in this regard, the drug dealers in the film are actually props), thus arousing the audience to watch many blockbuster movies one after another. The inertia of thinking formed in, and through the effect of this inertia, the audience is pushed into a confused situation. Every unintelligible audience is actually a "killer" in the film. The concept they uphold in the film is good at one time, evil at the other, and defeated by stronger violence at the other. So they were confused. In fact, this shows that the end of this violent worship is a dilemma. The original intention of the Coen brothers is probably to let the audience step into this dead end and then touch them all the way back to reflect on themselves. Once you see the essence, everything else in the film is as clear as leaf veins. It is a pity that in the many online debates about this film, what I see is that many people who are difficult to introspect are still crashing like headless flies in this room with mirrors on all sides.
In a Hollywood-style approach, a completely anti-Hollywood film was shot. The sophistication of this intellectual activity is amazing, and the Coen brothers are also worthy of their independent director. (If you understand this film, and then watch a film like "Duel Yuma Town", the mood will probably be very complicated)
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No Country for Oldmen, the title is like a metaphorical sentence of modern society-when you understand When the meaning is understood, it is often in the situation of No Country for You.
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