A lyrical war movie to end all war movies, Terrence Malick’s 1998 The Thin Red Line, this epic and metaphysical film, asks the most essential of questions: Is war – such a primordial conflict resolution tool – as natural as the magnificent landscape shown on the picture?
Why does mankind need to reach the depths of despair in order to notice the precious nature of life and to contemplate what’s beyond the mundane? Perhaps, it is this paradox that makes war stories especially poignant, with such a rich array of feelings and emotions that seems to encompass humanity’s whole range of meanings. Thus the actuality of war poses a great conundrum to our species as it encapsulates primeval aspects of mankind’s psyche, and as such serves us with the tools to search for and reach the sublime. Continue reading →
An intense noirish western that deals with substantial moral questions, the Coen brothers’ 2007 No Country for Old Men, with its cynical view of modern America, subverts hero-worshiping in the form of a hideously atypical villain who is indestructible as a superhero.
It seems odd to call No Country for Old Men a western. It certainly looks like one. The story takes place in Texas and several elements of the film – the orange-tinted landscape, the cowboy-type hero, the brutal violence – all point to, arguably, the most American of all genres. However, westerns usually are moral tales with archetypes dealing in honour and personal justice. The Coens’ film is rather more ambiguous.