fact that the two highly acclaimed and yet so contradictory, American films "No Country for Old Men" and "Wendy And Lucy" find here together in a meeting again, they owe to chance alone that I've just seen each other in quick on DVD. Despite all the differences there are quite content references that they share. disappointed
Despite or because of all his early praise me "No Country for Old Men " (USA 2008, - to + +), in which the Coen brothers' genre elements of Western, gangster film and road movie a bloody escape and pursuit story mix. American film is brilliant as the safe most of the two. Film buffs will enjoy the great photography, the power structure, the sets and the actors, the film's agents have always been somewhat pretentious, and narcissistic. To me the film, as feared (that's why I have long refused to look at it), far too brutal, brutal and unnecessary for the course of history. And so we are equal to the second problem, given its history and its characters, he does not seem to care much. At the output of that Llewelyn Moss (Josh Brolin), is not with the drug money found in the desert are happy, there is no doubt from the start anyway - we have finally all "Fargo" seen by the Coens and "A Simple Plan" by Sam Raimi. There does not even need the physical evil, Javier Bardem as a psychopathic killer personified. could also Tommy Lee Jones as a laconic sheriff and chronicler of a decal is in this archaic-armed man's world, the smoothest one of these cowboy novels of Cormac McCarthy come from, what it does. Although the film is set in 1980 and should be fitted to the last authentic props, he says little about his time or his company. A timeless, a-social Neonwestern, lacking the critical moment of the late classic Western. 
From Deep South in their high northwest: In "Wendy And Lucy" (USA 2008, + +), an indie production by Kelly Reichardt, for which it probably does not even have the money from petty cash from "No Country For Old Men " was available, there are no grandiose landscapes (no glittering city scenes), only a bleak and faceless, suburban no man's land somewhere in Oregon. There is Wendy (Michelle Williams) with her dog Lucy, and a rickety Honda stranded on the way to Alaska. The car breaks down, the theft of dog food she gets caught and Lucy is gone. The soundtrack of shunting freight trains, which are usually heard in the background, we follow Wendy in this summer, despite cold temperatures and resistant environment in search of her dog. The narrative style is simple and sober, almost social documentary. In long shots we see the faces of vagabond Train Kids in the glow of the fire and as a tracking shot dog to dog in his barred cell in the animal shelter. Money rules the world, poverty is visible, as in a film by the Dardenne brothers. The only friendly person is far and wide, an old guard, which we do not even know the name. No wonder that Wendy chose a dog as a companion, even if it moves on its own at the end - of responsibility to the dog opposite. Both films act of movement and stillness, the American phenomenon of problem solving by mobility, the spatial and neither is mental, social, and by the vision of a new beginning in a different place.
starting point of "No Country for Old Men" is the stalled movement has little dare Mobile Home Llewelyn in the trailer park, neither home nor Caravans, the scattered cars in the dead gangster in the desert, a junkyard of a special kind and the money at the resting place of the only apparently escaped gangster. What follows is a wild, chaotic flight, including chase, zigzag and in a circle, in a roundabout way and across borders. The showdown will find on the street, instead of in the places of rest and of the passage. Standing still will be shot. So that nobody can live anywhere in or out. Only the devil himself survived the final crash. And the helpless workers must return home. At the start of
"Wendy And Lucy" everything is in motion, railway wagons and the two protagonists through the garden pulling a hummed melody, reminiscent of the American national anthem. And yet even here the movement stops. From passing through a forced stay. Alaska is as far away as the home of Indiana. Not the Alaska "Into The Wild" as a place of wilderness, solitude and civilization far away, but as a place where there is still work. Here in Oregon, the rusting factories, this one works its way up through the denunciation of shoplifters or stands as a security guard's legs in the stomach. No country for a young woman who wants everything and it always moves on. Necessary also in the freight train.
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