"Old Nowhere" can be regarded as the best thriller of last year. After watching this disc by myself and seeing the mop-head killer played by Pavel walking into the distance with a back, I found myself cold. To death, I hurried to add a coat.
The movie in which this murderer did not subdue is particularly disturbing. The order of the world has been disrupted. It is not that good is rewarded for good and evil is rewarded for evil, but a kind of "evil" that completely isolates the sense of morality has the upper hand. It is a pure evil, with a very self-sufficient aesthetic form (the "mop head" is really a magic touch), and a strong technical procedure, smooth, beautiful, and almost abstract. What kind of power does this evil have? Frightening, convincing? Is it even admirable and fascinating?
The Coen brothers behaved this evil very cleanly. In the motel murder incident, when Pavel killed the coward who was cowering in the corner of the bathtub, he even pulled the shower curtain first to prevent blood from splashing on his body; later he killed a colleague and called on the side of the corpse. The blood came from the carpet. When the upper class came over, he carefully raised his feet and put them on the sofa; in the end, he killed a woman, an innocent and kind woman, without a positive bloody description, only a large panorama, the composition is very complete and balanced-a small building under the blue sky The house, he walked out of the house, stood in front of the porch, raised one foot and looked at the sole, and raised another foot to look at the sole.
If only this is the case, then this noir film is too black and desperate. When individuals (such as me as an audience) face such evil, they will naturally have a bad mood of willingness to defeat the wind, not just the "old and helpless" style. Sentiment, there is also a crisis of survival and moral hesitation-if "evil" can be so powerful: for the whole, it becomes a condition, and for the individual, escape and inability to escape become the accident of fate.
This is actually a world view, a way of understanding and facing the world. In the movie, the old policeman is a rapper, his image is a tough guy, but his heart is empty. The little bastard who had taken away two million still had the ability to act. He was not cowardly, he just couldn't fight it. ——Can anyone beat this assassin? After watching this movie and thinking about it again after being frightened, my courage slowly picked up again. In the end, it was the woman who saved the world.
This mop-head killer has an independent, superior temperament. When he asked the old man in the grocery store to guess the coin, he was almost the incarnation of fate, a messenger of the Dark Lord. He has no relatives, no friends, no benefactors and enemies-only in this way, he is abstract and invincible. But when the gangster's wife, an innocent, powerless, and a victim, refused to guess the coin, she became a firm, courageous person who pleaded with "evil" in an individual body. She said: "It is not destiny that decides whether I am dead or alive. It is you."
This woman is better than the old policeman. She reduced the abstract evil into individual evil, making Pavel responsible for his evil. So a turning point came about: first, he was no longer invincible, and second, a more complex and richer dialectic of good and evil came into being (look at the two little boys), replacing the unification of evil. In general, Can it be considered a good thing?
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