No Country for Old Men (2007)

R | 122 mins | Drama | 21 November 2007

THIS TITLE IS OUTSIDE THE AFI CATALOG OF FEATURE FILMS (1893-1993)
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HISTORY

The film begins with voice-over narration by Tommy Lee Jones as “Ed Tom Bell,” who talks about his respect for lawmen of the past, his concern about the senseless violence of the present and his fear for the future. He relates that a fourteen-year-old boy sent to the electric chair because of his testimony admitted to Ed that he killed for no reason and would be willing to do so again. As Ed speaks, shots of Texas landscapes are shown. At the end of the film, after Ed tells his wife "Loretta" that he “woke up” from the two dreams, the screen is black and silent for several seconds before the credits and end music begin.
       The title of the film and the book on which it is based was taken from the first line of William Butler Yeats’s poem “Sailing to Byzantium,” "That is no country for old men." The Coen brothers' opening credit reads: "Written for the screen and directed by Joel Coen & Ethan Coen." End credits state that financing was provided in part by Marathon Funding LLC. The end credits also contain a copyright statement for the 1953 Paramount Pictures production Flight to Tangier , which is the film Carla Jean is watching when Moss first enters their trailer."
       A 7 Dec 2004 HR news item reported that Scott Rudin would produce an adaptation of Cormac McCarthy’s novel No Country for Old Men , which was scheduled to be released the following Aug. An Aug 2005 DV news item stated that Rudin was, at that time, in the process of changing home studios, ... More Less

The film begins with voice-over narration by Tommy Lee Jones as “Ed Tom Bell,” who talks about his respect for lawmen of the past, his concern about the senseless violence of the present and his fear for the future. He relates that a fourteen-year-old boy sent to the electric chair because of his testimony admitted to Ed that he killed for no reason and would be willing to do so again. As Ed speaks, shots of Texas landscapes are shown. At the end of the film, after Ed tells his wife "Loretta" that he “woke up” from the two dreams, the screen is black and silent for several seconds before the credits and end music begin.
       The title of the film and the book on which it is based was taken from the first line of William Butler Yeats’s poem “Sailing to Byzantium,” "That is no country for old men." The Coen brothers' opening credit reads: "Written for the screen and directed by Joel Coen & Ethan Coen." End credits state that financing was provided in part by Marathon Funding LLC. The end credits also contain a copyright statement for the 1953 Paramount Pictures production Flight to Tangier , which is the film Carla Jean is watching when Moss first enters their trailer."
       A 7 Dec 2004 HR news item reported that Scott Rudin would produce an adaptation of Cormac McCarthy’s novel No Country for Old Men , which was scheduled to be released the following Aug. An Aug 2005 DV news item stated that Rudin was, at that time, in the process of changing home studios, from Paramount to Disney, and that Joel and Ethan Coen had agreed to write and direct the film. According to a 2 Feb 2006 DV news item, No Country for Old Men was co-financed in a fifty-fifty partnership between Miramax and Paramount, with Miramax handling the foreign release and Paramount handling domestic distribution. However, a 19 Apr 2007 news item reported that, because the Coens preferred to release the film later in the year, the studios traded assignments, resulting in Miramax, headed by Daniel Battsek, handling the domestic release, with Paramount Pictures' specialty division, Paramount Vantage, which was headed by John Lesher, taking over international distribution. Reviews state that Paramount handled the international distribution and both companies are credited onscreen for domestic.
       As noted by the NYT review, the Coen brothers edited the film under their frequently used pseudonym Roderick Jaynes, and two of their usual collaborators, cinematographer Roger Deakins and composer Carter Burwell, were brought into the project. The Coen brothers’ production company, Mike Zoss Productions, which was named for a Minneapolis drugstore they patronized as youths, is referred to in the film as the name of the pharmacy that Javier Bardem’s character “Chigurh” robs.
       A May 2007 LAT article following the film’s Cannes screening reported that one of the reasons the Coens were attracted to McCarthy’s novel was the author’s tendency to subvert genre and veer from expected formulas. Although Deakins described the film in an AmCin article as being about “the changing of the West,” and Rolling Stone described Brolin’s character, "Llewelyn Moss," as a “cowboy in a world with no more room for cowboys,” the film differs from a traditional Western. In the May 2007 LAT article, the Coens claimed that “the bad guys never really meet the good guys” and, as noted in a Dec 2007 W Magazine article, Bell, the traditional hero of the film, never appears in the same scene with the two other main characters, Chigurh and Llewelyn. Instead, as the 9 Nov 2007 LAT review noted, Bell remains passive throughout the film, serving as a “kind of a Greek chorus” but never appearing at the “heart” of the action.
       As noted by the NYT review and a May 2007 LAT article, the film faithfully follows the novel. One of the differences between the film and the book, as mentioned by the Coen brothers in a radio interview with Elvis Mitchell in Dec 2007, is that the film becomes more about the “chase” and the collateral damage caused by the major characters pursuing one another. The Var review pointed out that one character--the young hitchhiker encountered by Llewelyn--was cut from the story because of time considerations. Although the film, as well as the book, is intensely violent, the violence, as the 9 Nov 2007 LAT review suggested, is important for “what it says about the world…we happen to live in” rather than for its own sake. The Var review described the film as depicting the way the “combination of the drug trade and the disintegration of societal mores" results in a new kind of violence.
       Although the book specifically mentions that Carla Jean was killed by Chigurh near the end of the film, her death is implied by showing Chigurh wiping his feet, presumably of blood, after he leaves her house. Many other points remain ambiguous in the film, such as Chigurh’s presence in the motel after Llewelyn’s murder and the alliances of the various drug dealers. The person who has hired Chigurh to recover the cash is, as noted by the NYT review, “neither clear nor especially relevant.”
       The end credits state that No Country for Old Men was shot on location in New Mexico, and the producers included Albuquerque in the list of organizations and individuals acknowledged in the end credits. An Oct 2007 AmCin article also stated that night scenes were shot in Las Vegas, NM and that additional scenes were shot in Santa Fe. According to a 27 Aug 2006 NYT article, portions of the film were shot in Marfa, TX, where the Warner Bros. 1956 film Giant was filmed (See Entry), as well as another 2007 Paramount Vantage film, There Will Be Blood (see below). The article also stated that Chip Love, who portrayed the man in the Ford automobile in No Country for Old Men , is Marfa’s bank president and a cattle rancher, and that his grandmother was an extra in Giant . Some sources add Scott Flick and Elizabeth Slagsvol to the cast.
       No Country for Old Men was screened at the Cannes, Toronto and New York Film Festivals. In addition to being selected as one of AFI's Movies of the Year for 2007, the film received two Golden Globes, for Best Performance by an Actor in a Supporting Role in a Motion Picture (Bardem) and for Best Screenplay, and was nominated for Golden Globes in the categories of Best Motion Picture--Drama, and Best Director. The Broadcast Film Critics Association nominated the film for Best Picture, Best Supporting Actor (Bardem), Best Acting Ensemble, Best Director and Best Writer, while both the New York Film Critics Circle and the Washington, D.C. Area Film Critics Association awarded it Best Picture, Best Director and Best Supporting Actor (Bardem). The film also garnered citations from the National Board of Review for Best Film, Best Ensemble Cast and Best Adapted Screenplay. Bardem won the Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Supporting Role, a category in which Jones also was nominated, and the film’s ensemble received the SAG award for Outstanding Performance by a Cast in a Motion Picture. Bardem was also cited as Best Supporting Actor by the New York Film Critics Circle. Joel Coen and Ethan Coen were given the Directors Guild of America award for directorial achievement in a feature film, and additionally won the Writers Guild of America Award for their adapted screenplay. The film also received the USC Libraries Scripter Award for Best Adapted Screenplay, and from the Producers Guild of America, the Darryl F. Zanuck Producer of the Year Award. The film won Academy Awards for Best Picture, Best Director, Best Adapted Screenplay and Best Supporting Actor (Jardem), and was nominated for Best Sound Mixing, Best Sound Editing, Best Film Editing and Best Cinematography. In addition, the film received BAFTAS for Director and Cinematography and was nominated for BAFTAs in the categories of Best Film, Director, Editing, Sound, Adapted Screenplay, Supporting Actor (Jones), Supporting Actor (Bardem) and Supporting Actress (Kelly Macdonald). More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
American Cinematographer
Oct 2007.
pp. 30-47.
Daily Variety
29 Aug 2005
p. 1, 35.
Daily Variety
2 Feb 2006
p. 1, 23.
Daily Variety
19 Apr 2007.
---
Daily Variety
21 May 2007
p. 6, 23.
Entertainment Weekly
10 Nov 2007
pp. 48-49.
Hollywood Reporter
7 Dec 2004
p. 1, 91.
Hollywood Reporter
20 Jun 2006.
---
Hollywood Reporter
15 Aug 2006.
---
Hollywood Reporter
22--28 Aug 2006
p. 27.
Hollywood Reporter
21 May 2007
p. 27, 32.
Los Angeles Times
19 May 2007
Calendar, p. 1, 10.
Los Angeles Times
9 Nov 2007
Calendar, p. 1, 13.
Los Angeles Times
21 Nov 2007.
---
New York Times
27 Aug 2006.
Arts, p. 13, 16.
New York Times
9 Nov 2007
Arts, p. 1, 10.
Rolling Stone
1 Nov 2007
p. 202.
Sight and Sound
Jul 2007.
pp. 20-22.
Time
29 Oct 2007
pp. 61-63.
Variety
28 May--3 Jun 2007.
---
W Magazine
Nov 2007
pp. 239-42.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXT
A Scott Rudin/Mike Zoss production
NAME
CREDITED AS
CREDIT
DIRECTORS
Dir
2d unit dir
1st asst dir
1st asst dir, 2d unit
2d asst dir
2d asst dir, 2d unit
2d 2d asst dir
2d 2d asst dir, 2d unit
PRODUCERS
Prod
Prod
Exec prod
Exec prod
Assoc prod
WRITERS
Wrt for the screen by, Wrt for the scr by
Wrt for the screen by, Wrt for the scr by
PHOTOGRAPHY
Dir of photog
Dir of photog, 2d unit
Cam op
Cam op, 2d unit
"A" cam 1st asst
"B" cam 1st asst
Cam 1st asst, 2d unit
Cam 1st asst, 2d unit
"A" cam 2d asst
Film loader
Chief lighting tech
Chief lighting tech, 2d unit
Asst chief lighting tech
Chief rigging elec
Asst chief rigging elec
Elec
Rigging elec
Rigging elec
Rigging elec
1st company grip
1st company grip, 2d unit
2d company grip
Dolly grip
1st company rigging grip
2d company rigging grip
Rigging grip
Rigging grip
Rigging grip
Rigging grip
Still photog
Video assist
Lighting equipment supplied by
Musco light provided by
Cameras by
ART DIRECTORS
Prod des
Asst art dir
Visual consultant
Graphic des
Art dept coord
FILM EDITORS
Assoc film ed
Negative cutter
[Ed with]
SET DECORATORS
Set dec
Asst set dec
Leadperson
Set dec foreperson
Set dresser
Set dresser
Set dresser
Set dresser
Set dresser
On-set dresser
Prop master
Asst prop master
Prop asst
Propmaker lead foreperson
Propmaker lead foreperson
Propmaker foreperson
Propmaker foreperson
Propmaker foreperson
Propmaker foreperson
Plaster foreperson
Const coord
Gen lead foreperson
Charge scenic
Const lead foreperson
Welding lead foreperson
Welder foreperson
Toolperson
Labor lead foreperson
Paint lead foreperson
Paint lead foreperson, Marfa, Texas unit
Paint foreperson
Paint foreperson
Paint foreperson
On-set painter
Signwriter
Signwriter
Greens foreperson
Key greensperson
On-set greensperson
COSTUMES
Cost des
Cost supv
Asst cost des
Key cost
On-set cost
On-set cost
Set cost, 2d unit
Seamstress
MUSIC
Mus exec
Mus ed
Orch contractor
Asst to Mr. Burwell
Mus rec and mixed by
Mus clearances by
SOUND
Supv sd ed
Sd mixer
Boom op
Boom op
Cable person
Sd des
ADR ed
Dial ed
Foley mixer
Foley artist
Foley artist
Asst sd ed
Re-rec mixer
Re-rec mixer
Re-rec mixer
VISUAL EFFECTS
Spec eff coord
Spec eff foreperson
Spec eff tech
Spec eff tech
Spec eff tech
Spec eff tech
Visual eff
Senior visual eff supv
Visual eff supv
Visual eff supv prod
Visual eff prod
Visual eff coord
Digital eff supv
CG supv
Seq supv
Lead TD
Digital artist
Digital artist
Digital artist
Digital artist
Digital artist
Digital artist
Digital artist
Digital artist
Digital artist
Digital artist
Digital artist
Digital artist
Digital artist
Digital artist
Titles des
Opticals by
MAKEUP
Makeup dept head
Addl makeup artist
Makeup asst
Hair dept head
Asst hair stylist
Addl hair stylist
Spec makeup eff
Spec eff makeup prod coord
Makeup eff coord
Sculptor/Fabricator
Makeup applicator/Sculptor
Mold tech
Wig maker
PRODUCTION MISC
Casting
Loc casting
Casting assoc, New York
Casting assoc, Los Angeles
Casting asst, New Mexico
Casting asst, New Mexico
Addl casting
Background casting
Background casting asst
Voice casting
Unit prod mgr
Prod mgr, Mexico unit
Prod coord, Mexico unit
Asst prod coord
Asst prod coord, Marfa, Texas unit
Post prod coord
Prod accountant
1st asst accountant
2d asst accountant
Addl accountant
Payroll accountant
Const accountant
Post prod accounting
Accounting clerk
Spec eff makeup bus mgr
Scr supv
Scr supv, 2d unit
Prod secy
Travel coord
Loc mgr, Marfa, Texas unit
Loc mgr, Mexico unit
Asst loc mgr
Asst loc mgr, Marfa, Texas unit
Customs broker, Mexico unit
Asst to Mr. Rudin
Asst to Mr. Rudin
Asst to Mr. Rudin
Asst to Mr. Rudin
Asst to Mr. Jones
Security for Mr. Jones
Asst to Mr. Brolin
Asst to Mr. Bardem
Medical consultant
Dialect coach to Mr. Bardem
Dialect coach to Ms. Macdonald
Post prod facility
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Office prod asst
Office prod asst
Office prod asst, Marfa, Texas unit
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Post prod asst
Post prod asst
Intern
Catering by
Catering by
Catering by
Craft service
Craft service
Craft service asst
Animal trainer
Animal trainer
Animal trainer
Animal trainer
Animal trainer
Animal trainer
Wrangler
Head wrangler, Marfa, Texas unit
Wrangler foreperson, Marfa, Texas unit
Wrangler, Marfa, Texas unit
Wrangler, Marfa, Texas unit
Transportation coord
Transportation capt
Picture vehicle coord
Transportation dispatcher
Rights and clearances
Rights and clearances
Weather guru
Serious matters
The one right tool
STAND INS
Stunt coord
Stuntperson for Mr. Brolin
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
COLOR PERSONNEL
Digital intermediate by
Digital col timer
Digital intermediate prod
SOURCES
LITERARY
Based on the novel No Country for Old Men by Cormac McCarthy (New York, 2005).
SONGS
"Puño de tierra," music and lyrics by Michael Eloy Sanchez, performed by Angel H. Alvardo, Jr., David A. Gomez, Milton Hernandez and John Mancha
"Las mañanitas," traditional, performed by Lola Beltran, courtesy of Warner Music Mexico SA de CV, by arrangement with Warner Music Group Film & TV Licensing.
DETAILS
Release Date:
21 November 2007
Premiere Information:
Cannes Film Festival screening: 19 May 2007
New York Film Festival screening: 6 October 2007
New York and Los Angeles openings: 9 November 2007
Production Date:
23 May--19 August 2006
Copyright Claimants:
Miramax Film Corp. Paramount Vantage
Copyright Dates:
2007 2007
Copyright Numbers:
Physical Properties:
Sound
Dolby Digital; dts Digital Sound; SDDS Sony Dynamic Digital Sound in selected theatres
Color
DeLuxe
Lenses/Prints
photographed on Kodak motion picture film
Duration(in mins):
122
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
43473
Passed by NBR:
No
SYNOPSIS

In 1980, in west Texas, Anton Chigurh strangles the young deputy who arrested him. Using the authority provided by the deputy’s police car that he steals, Chigurh stops a man in a Ford and shoots him in the forehead with a stun gun attached by hose to a compressed air tank. Later, Chigurh decides by the flip of a coin whether or not to kill a proprietor of a gas station who has unintentionally annoyed him. In the Texas wilderness, Vietnam veteran Llewelyn Moss is hunting antelope when he discovers an area strewn with many corpses, marking the site of a drug deal that culminated in a shootout. Leaving behind a large quantity of heroin stashed in the back of the trunk, Llewelyn steals a suitcase filled with two million dollars, but feels unable to help the only survivor, who is critically wounded. However, during the night, in the trailer home he shares with his wife Carla Jean, guilt prompts Llewelyn to return to the site with a jug of water for the suffering man. There, he must run for his life from armed thugs associated with one of the parties in the failed drug exchange who have come to retrieve the goods. He barely escapes, but realizes afterward that he still can be found by the license plates on his truck, which he was forced to abandon. To ensure their safety, Llewelyn sends Carla Jean to her mother’s house and then takes a room at the Regal Motel in a different town. Later, at the site of the shootout, Chigurh meets with two Mexican “businessmen” who represent another party ... +


In 1980, in west Texas, Anton Chigurh strangles the young deputy who arrested him. Using the authority provided by the deputy’s police car that he steals, Chigurh stops a man in a Ford and shoots him in the forehead with a stun gun attached by hose to a compressed air tank. Later, Chigurh decides by the flip of a coin whether or not to kill a proprietor of a gas station who has unintentionally annoyed him. In the Texas wilderness, Vietnam veteran Llewelyn Moss is hunting antelope when he discovers an area strewn with many corpses, marking the site of a drug deal that culminated in a shootout. Leaving behind a large quantity of heroin stashed in the back of the trunk, Llewelyn steals a suitcase filled with two million dollars, but feels unable to help the only survivor, who is critically wounded. However, during the night, in the trailer home he shares with his wife Carla Jean, guilt prompts Llewelyn to return to the site with a jug of water for the suffering man. There, he must run for his life from armed thugs associated with one of the parties in the failed drug exchange who have come to retrieve the goods. He barely escapes, but realizes afterward that he still can be found by the license plates on his truck, which he was forced to abandon. To ensure their safety, Llewelyn sends Carla Jean to her mother’s house and then takes a room at the Regal Motel in a different town. Later, at the site of the shootout, Chigurh meets with two Mexican “businessmen” who represent another party in the drug deal, in order to recover the money and heroin. Upon seeing Llewelyn’s truck, which is now lacking license plates, Chigurh pries off the metal tag containing the vehicle’s identification number. He also finds a transponder that can be used to locate the suitcase of money. Then, without warning, Chigurh shoots each man in the head at close range. When the Ford is reported on fire at the side of the road, Sheriff Ed Tom Bell, the descendant of several generations of lawmen, investigates the owner’s murder by searching the wild country on horseback, aided by his deputy Wendell. When they discover the site of the multiple shootings, Ed recognizes the truck as Llewelyn’s and guesses that the man has underestimated the danger he is in. Having used the truck’s VIN to trace Llewelyn’s residence, Chigurh shoots out the lock on the now-vacated trailer with his airgun and steals a telephone bill that was delivered that day through the mail slot. Shortly after, Ed and Wendell also arrive at the trailer, but Chigurh has left and is calling numbers on the bill from a payphone in an attempt to locate Llewelyn. Meanwhile, Llewelyn hides the suitcase in the heater ductwork of his motel room and leaves to buy supplies, but upon returning, senses danger and rents a second motel room that shares ductwork with the first. Chigurh has intuitively followed Llewelyn and when he drives past the Regal, the transponder beeps, alerting him that the suitcase of money is nearby. Llewelyn, using a makeshift pole to hook the suitcase, slides it to the vent in his room and retrieves the money. The tracking device leads Chigurh to a nearby room, where three Mexican drug dealers are staying. Without further thought, Chigurh shoots the three men dead. Then, while looking for the money, he opens the vent and sees scratches made by the suitcase when it slid, but by then, Llewelyn has hitched a ride out of town. As Chigurh’s indiscriminate killing has become a concern for a businessman behind the drug deals, Carson Wells, a cocky Vietnam veteran turned hit man, is hired to stop him. When the businessman suggests that Chigurh is a psychopath, Carson states that Chigurh lives by certain “principles.” After taking a hotel room in a different town, Llewelyn discovers the tracking device hidden in a stack of bills in the suitcase and so is prepared when, minutes later, Chigurh finds him and shoots down the door. A gunfight ensues in which Chigurh and Llewelyn are wounded and innocent people killed, but Llewelyn manages to escape toward Mexico. Near the border guard station located on a bridge over the Rio Grande, Llewelyn pitches the suitcase into foliage on the river bank below and then disguises himself as a drunk, using a coat he buys from young tourists to cover his bleeding wounds. In Mexico, Llewelyn passes out and is taken to a hospital by strolling musicians, and afterward awakens to find Carson at his bedside. Wanting the money returned to his employer, Carson warns that Chigurh will kill both Llewelyn and Carla Jean, but Llewelyn stubbornly insists that he can cut a deal with the killer. Unable to convince Llewelyn that Chigurh does not negotiate, Carson informs him that he will be at the hotel across the street. Elsewhere, Chigurh sets fire to a parked car to provide distraction while he robs a pharmacy for needed medical supplies. In a hotel room, he cleans his wounds, picks bullets out of his body and injects himself with drugs. Although he has followed the trail of death from a distance, Ed has been unable to intervene and worries about both Mosses. After locating Carla Jean, Ed warns her that Llewelyn is involved with dangerous people, but she remains reticent, as she is unaware of Llewelyn’s activities and feels she must protect him from the law. Carson, after discovering where the money is hidden, returns to the hotel to find Chigurh waiting. Carson tries to negotiate for his life by offering Chigurh the money, but Chigurh says that Llewelyn will deliver the money to him. When the phone rings, Chigurh kills Carson, then answers, knowing that the caller is Llewelyn. Chigurh tells Llewelyn that if he brings the money, he will still kill him, but will spare Carla Jean; however, Llewelyn refuses the offer and hangs up. Intent on returning to the United States immediately, Llewelyn wears his hospital gown to the border, where the guard, a fellow veteran who is suspicious at first, relents when Llewelyn recites his dates of military service and arranges for Llewelyn to be taken to a store to buy clothes. Afterward, Llewelyn calls Carla Jean and tells her to meet him at a motel in El Paso. Chigurh, meanwhile, bursts into a high-rise office to murder the businessman who hired Carson and, later, on the road, flags down and kills a chicken farmer for his truck. On her way to El Paso, Carla Jean proceeds to the bus station, where her mother, a whining woman who disapproves of Llewelyn, is charmed by a polite and well-dressed Mexican and reveals to him their plans, unaware that the man works for the drug dealers searching for Llewelyn. Before boarding the bus, Carla Jean decides to trust Ed and calls to tell him about the rendezvous in El Paso. However, by the time Ed gets to the motel, Llewelyn and several innocent people have been gunned down and consequently, when Carla Jean arrives, she is met only by Ed. Shocked by the increasing violence in their respective counties, Ed and the local sheriff commiserate at a diner that evening, agreeing that bad things follow when politeness and courtesies are abandoned, and pronouncing drugs and money as the source of most problems. A casual comment by the El Paso sheriff prompts Ed to return that night alone to the crime scene, where he correctly senses that Chigurh is hiding, but chooses not to investigate further and thus remains alive. Much later, dogged by a feeling of ineffectiveness, Ed plans to retire and visits Ellis, a paraplegic who was injured while serving as deputy to Ed’s grandfather. Ellis tells him a story about his uncle Max, another lawman who, in 1909, was shot in front of his house by a gang of outlaws who stayed to watch him die. Ellis advises Ed that the country is hard on its people and that no one can stop what is coming. Months later, Carla Jean returns from the funeral of her mother, who died from cancer, unsurprised to find Chigurh waiting for her. Although he knows she does not have the money, he feels obligated on principle to kill her, because Llewelyn refused his offer to save her by delivering the money. Giving Carla Jean one last chance, he flips a coin and asks her to “call” it, but she refuses to play his game, ensuring certain death. Shortly, after leaving her house, he carefully wipes his feet and then drives away, but at an intersection, he is in a car collision that kills the other driver. With a broken bone sticking out of his arm, Chigurh buys the shirt off the back of an adolescent who witnessed the accident, which he then fashions into a sling and walks away. In retirement, Ed feels restless and one morning at breakfast relates two dreams about his now-deceased father to his wife Loretta. In the second dream, Ed is on horseback in a snowy pass, when his father rides on ahead of him. Ed says he knew that his father would make a fire and be waiting. Then, Ed says, he woke up. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award
The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.