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4.05 AVERAGE
4.05 AVERAGE
dark
slow-paced
Экранизация оказывается достаточно буквальная (только позже прочитал, что она намеренно писалась как материал для экранизации) ровно до того момента, когда абсолютно нет и книга продолжается и продолжается дальше финала фильма. Окей!
dark
reflective
tense
medium-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
dark
emotional
sad
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
One of the greatest books I have ever read. My god.
These themes are a touch more tired than those of The Road, much like many of the characters. The book plods on deliberately and inevitably towards a bleak ending, and again, the movie was very faithful and also very successful. I wish more directors would realize this.
The old being pushed out by the young is not a new theme, but the fact that it’s the new criminal that changes our definition of justice is a nice, refreshing take. I also liked how the tech innovations essentially only ever seem to help the criminals. It kind of mirrors how a lot of us feel about technology nowadays.
I think I liked the movie’s version of Anton Chigurh a little better, but the book version of Llewelyn is much more likable. He talks down to his wife less and when he does, it’s in a much more loving tone rather than in a patronizing way. The fact he’s twice her age also explains the emotional and intellectual distance between them. I suppose our heroes can’t always be flawless as this is not the country of our fore fathers any longer.
The old being pushed out by the young is not a new theme, but the fact that it’s the new criminal that changes our definition of justice is a nice, refreshing take. I also liked how the tech innovations essentially only ever seem to help the criminals. It kind of mirrors how a lot of us feel about technology nowadays.
I think I liked the movie’s version of Anton Chigurh a little better, but the book version of Llewelyn is much more likable. He talks down to his wife less and when he does, it’s in a much more loving tone rather than in a patronizing way. The fact he’s twice her age also explains the emotional and intellectual distance between them. I suppose our heroes can’t always be flawless as this is not the country of our fore fathers any longer.
challenging
dark
tense
fast-paced
Plot or Character Driven:
A mix
Strong character development:
Complicated
Loveable characters:
Complicated
No Country for Old Men is a Morality tale about the good and bad choices we make in life, and how they come back to haunt us.
Llewelyn Moss finds a bag of money that belongs to dangerous criminals and risks everything by taking it for himself.
Of course, this is a decision with potentially terrible consequences, especially when he has a psychotic killer named Chigurh hot on his tales. A little further down the road is Sheriff Bell, who does his best trying to put the pieces together.
This feels like a personal story for McCarthy. He was 74 when it was published. Sheriff Bell talks about aging and the way the world has changed over the years, and how little makes sense anymore.
Despite all of the introspection, the story is a fast-paced tour de force, filled with plenty of descriptive shoot-outs and cat and mouse chases. In the best possible sense, it’s like one of those old pulp novels. There’s barely an ounce of fat on it.
It’s clear The Coen Brother’s understood the material and knew which parts to include and which to leave out. I’ve seen the film many times. Sheriff Bell and Chigurh feature more prominently in the novel, so it’s nice to get a better insight into their characters.
One thing about the film I wasn’t enthusiastic about was the ending. Funnily enough, I feel the same with the book but for different reasons. Nevertheless, it doesn’t diminish the experience.
Whilst No Country For Old Men isn’t as ground-breaking as some of his earlier novels, such as Suttree or Blood Meridian, it doesn’t matter when the dialogue is so natural and gripping, and the pacing is so expertly crafted. If anything, No Country could be a good place to start with the world of McCarthy. It’s accessible, yet contains some of the writer’s best qualities.
McCarthy’s final books, The Passenger and Stella Maris, are all that remain. I can’t believe I’ve almost finished his bibliography. I already feel sad. What an absolute legend.
“...you fix what you can fix and you let the rest go. If there ain't nothin to be done about it it aint even a problem. It's just a aggravation.”
Llewelyn Moss finds a bag of money that belongs to dangerous criminals and risks everything by taking it for himself.
Of course, this is a decision with potentially terrible consequences, especially when he has a psychotic killer named Chigurh hot on his tales. A little further down the road is Sheriff Bell, who does his best trying to put the pieces together.
This feels like a personal story for McCarthy. He was 74 when it was published. Sheriff Bell talks about aging and the way the world has changed over the years, and how little makes sense anymore.
Despite all of the introspection, the story is a fast-paced tour de force, filled with plenty of descriptive shoot-outs and cat and mouse chases. In the best possible sense, it’s like one of those old pulp novels. There’s barely an ounce of fat on it.
It’s clear The Coen Brother’s understood the material and knew which parts to include and which to leave out. I’ve seen the film many times. Sheriff Bell and Chigurh feature more prominently in the novel, so it’s nice to get a better insight into their characters.
One thing about the film I wasn’t enthusiastic about was the ending. Funnily enough, I feel the same with the book but for different reasons. Nevertheless, it doesn’t diminish the experience.
Whilst No Country For Old Men isn’t as ground-breaking as some of his earlier novels, such as Suttree or Blood Meridian, it doesn’t matter when the dialogue is so natural and gripping, and the pacing is so expertly crafted. If anything, No Country could be a good place to start with the world of McCarthy. It’s accessible, yet contains some of the writer’s best qualities.
McCarthy’s final books, The Passenger and Stella Maris, are all that remain. I can’t believe I’ve almost finished his bibliography. I already feel sad. What an absolute legend.
“...you fix what you can fix and you let the rest go. If there ain't nothin to be done about it it aint even a problem. It's just a aggravation.”
challenging
emotional
mysterious
reflective
tense
medium-paced
Plot or Character Driven:
A mix
Loveable characters:
Complicated
adventurous
challenging
mysterious
tense
medium-paced
Plot or Character Driven:
A mix
Strong character development:
No
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes