![]() ![]() The Coens always excel in this area, but in this case they elevate execution to an art form. Although I think No Country is among the most thematically rich of the Coens’ film-owing in large part to the source material, Cormac McCarthy’s novel of the same name-what truly sets it apart is its technical virtuosity.How the Loss of the Landline Is Changing Family Life Julia Cho But first, two observations, one broad and one narrow. I wrote a moderately rapturous review of No Country for Old Men when it came out, and rather than repeat myself, I’ll recommend it as a starting point-it’s here-and try something a little bit different with this entry. Given the historical pattern, I think it only makes sense for patient fans of the Coens to root for them to stumble now and then, in order that we might savor their rebounds. ![]() After the far greater flop of The Ladykillers, they gave us No Country for Old Men. After the flop of The Hudsucker Proxy, the Coen brothers came back with Fargo.The landing page for the whole series is here.) Notes on No Country for Old Men (2007) (Here, too, are my entries on Raising Arizona, Miller’s Crossing, Barton Fink, The Hudsucker Proxy, Fargo, The Big Lebowski, O Brother, Where Art Thou?, The Man Who Wasn’t There, Intolerable Cruelty, and The Ladykillers. For a fuller explanation of what I’m doing and why, see my first entry, on Blood Simple. In honor of the 30th anniversary of the Coen brothers' debut, Blood Simple, I’m re-watching their 16 feature films and attempting to jot down observations on one per day, in order of their release. ![]()
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