*There may be spoilers ahead…but I’m gonna try not to focus on that and remain appropriately vague*
So I’m sort of caught up in McCarthy fandom and decided I definitely had to read this novel before I saw the film. I have also been a serious fan of Cohen bros. dramas, as opposed to the comedies. Nothing wrong with their comedic quirkyness, but I would argue if you ask the average viewer to name a one of their films, they’ll give you ‘Raising Arizona’ or ‘OBWT’ before ‘Miller’s Crossing’ or ‘The Man Who Wasn’t There’, which I find disappointing. Anyway, from my first learning of this project, I had a strong inclination I was going to love it, and I essentially did.
Reading some sneak peak reviews, I quickly came across a complaint from blog reviewers who hadn’t read the book and are so weened on common suspense arcs that rely on over-the-top sensationalism to outdo one another: Tarrantino style, if you will. But this isn’t about that. Period. There is a very specific reason I have chosen the title of this post from the films tagline and a very specific reason I have chosen this image. Go watch a Tom Cruise, or Vin Diesel vehicle if you cant handle post modern tweaking of the thriller genre. This film comes from a pulp work from a literary mind. Yes, there is a “kick ass” psycho (and after being so compelled by ‘Before Night Falls’, I sensed Bardem was gonna nail this role - I think the fact that he is also the lead in the current Marquez classic speaks volumes about his power as an actor) and there are even over-the-top nifty devices you’ve never seen in a film before - straight from the mind of C McCarthy. So go see it. In a way it’s like getting to see another Peckinpah film, but much of that had to do with the period and location. Here are my two minor and one major beefs…
Because the locations and authenticity are so dead on, even while reading, I have to admit their authenticity stumped my imagination, despite the fact I can recall images of 1980 (OK, not central and west Texas…) I have to get finiky and picky. 1) I don’t remember the girlfriend mentioning she worked in a WalMart. It sort of struck me as a modern jab, and as a nomad, I don’t have my copy of the book here and now to reference, but a search reveals Walmart did hit Texas in ‘75, so it is plausible. It may very well come straight from the text, as so much of the dialogue does. 2) Having ridden lots of Greyhound buses, I’m doubting that semi-southwestern style with the bold blue through the other colors that still adorns the apolstry of many of the seats now, did so then. Total nitpicking I know, but the authenticity is dead on in every other way - I think it bears mentioning.
And the major thing I didn’t like: the young hitchhiker character is reduced to a poolside beerswiller with only a few lines of dialogue. I think there was a lot of revelation about Lwelyn’s character in those passages with her in the novel, as well as more of McCarthy’s foundation about what overtly changed about (our) culture at that time, which isn’t exactly what I mean to say but - the big picture stuff about society and individual. As the film is a bit long as is, I fully understand why the reduction stood, but I’d argue it also built suspense for the story, even though, as stated, that’s not the point. I further admit, I didn’t picture Lwelyn’s wife to be as attractive as the actress they picked, during my reading. I guess I was strung out then on the sexual suspense as well as violent suspense - i.e. semi-loner guy with a bunch of money has beat the devil once or twice, THEN runs into some hot free ass on the road. What now? And there is no sexual suspense at all in the film.
Other than that, every bit of acting worked or excelled. The Cohen bros. excerted their style without being “cliche Cohen bros”. The bleak beauty of the desert was perfectly captured. The moments of gallows humor blended seemlessly between the styles of novelist and filmakers. Was there even a single bit of music in this film? I can’t even think of a song on a radio right now, much less soundtrack…wait, there is a major instance of music I’m recalling, and it’s comedy. But a sort of “slap in the audience face” comedy: the audience wants to go ‘oh irony, ha, and we could use a laugh’, but as the scene lingers there is sort of a feeling of ‘yeah, this is unusual, but what the fuck is funny about it?’. More defiance of easy expectations-
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