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get the bragging rights that s how it goes sayles is highlighting the ignorant argument that the oppressors and assassins who come out on top get the right to record history as they see fit the anglos see mexico as a defeated foreign country lacking political and economic might 8 sayles associates the legends of wade and buddy with the alamo then uses the new generation of children to conquer this myth this is accomplished through the interracial relationship of pilar and sam the relationship of pilar and sam is a metaphor of the two cultures on the border sayles illustrates that sam and pilar were destined for love since they were children flashbacks are used to reveal that they had a romantic relationship in their teens sam s father buddy and pilar s mother mercedes stop at nothing to keep the young lovers from seeing each other for reasons they cannot begin to comprehend as adults pilar and sam gravitate towards each other again and their passionate relationship resumes where it left off this is accented when pilar says it feels like it used to referring to their childhood relationship even as adults town politics and sam s investigation seem to tax their romance the separation between them cannot be sustained though because they feel a connection that transcends petty politics this is reminiscent of the divide between mexicans and americans the two are married together by a connection neither can understand but the cultures mix in a beautiful manner when they ignore political that historical obstacles ideally the two countries would live without the border like siblings in essence pilar and sam were supposed to live as brother and sister but past politics disrupted the natural order of things in the end of the film sam regretfully tells pilar that they are brother and sister after they had become lovers all over again the conundrum created by their forefathers has turned their relationship as brother and sister into something dysfunctional the forefathers of the mexicans and u s citizens in texas created a mess of the alamo which placed a divide between the two cultures the children of those who believed in myths about history and built their identities upon them arrived at an impasse sayles solution to the impasse of ethnic separation is felt in the words of pilar all that other stuff all that history to hell with it right forget the alamo for a torn culture fighting over historical myths to move on it must give up a history that divides pilar and sam are siblings yet lovers the most they can do is remain lovers because their parents lies and deceit forced them to evolve this way the relationship between u s citizens and mexicans carries this dysfunction the border that separates the cultures is a historical illusion to sayles a dying myth proven by the cultural collisions in border towns because everyone is involved in the mix and it is almost impossible to separate oneself completely 9 sayles communicates this message when sam visits the tire king chucho and he puts forth his view of the nature of a border chucho tells sam that a b ird flying south you think he sees that line rattlesnake javelina whatever you got halfway across that line they don t start different so why should a man the border is a creation of nations and something abstract not concrete and visible sam thinks he can be clever and turn the conversation around on chucho saying that the mexican government has invested the same amount of ideology into the border as the states chucho replies my government can go fuck itself and so can yours i m talking about people here men sayles professes that the natural world holds to no boundary 10 and neither should humans with their interpersonal relationships chucho then tells sam the story of the violent execution of enacio cruz by charley wade blaming the brutality on the border and separation in general sayles believes that the symbolic and physical borderline has bred a malevolence that is poisonous to the cultures on either side of it 11 the separation and collisions in lone star are sometimes violent no country for old men seizes this violence and makes it the focus of the film at the start of no country for old men sheriff tom bell reminisces upon a history of myth and legend which he believes in unlike sam in lone star tom bell is caught up in the past which prevents him from being an effective hero in the story throughout most of the film he is hemming and hawing about a new violence he cannot understand that is taking over the borderlands bell recalls that some of the old time sheriffs never even wore a gun i always liked to hear about the oldtimers never missed a chance to do so you can t help but compare yourself against the oldtimers can t help but wonder how they d have operated these times by these times bell is referring to the budding violence created by the emerging drug enterprise on the border the new explosion over drugs and money make bell feel small and ill prepared to confront the type of bloodshed characteristic of the border anton chigurh represents this new type of violence beyond being an embodiment of violence he is also racially bewildering because he looks latino sounds eastern european and acts like a texan he terrifies everyone who he comes into contact with he is the manifestation of a nihilistic and murderous force he lives by an obscure code where remorse and sympathy are negated by cold fate and a killer s logic he is hired by the cartels to find the missing 2 million dollars but quickly kills the men who hire him his motive is never quite clear it could be that he wants the 2 million for himself or it could be simply because he is a psychopathic killer sheriff bell sees this man as a new breed of killer than he cannot comprehend when bell and his partner investigate the scene of the cartel shootout he cannot handle the layers of violence that being to compile the first layer is the cartel standoff where bodies were bloated by time and riddled with bullets the second layer is llewelyn moss escape from the scene when he brings a wounded man water but is chased by dogs and men with guns the third layer is the execution style murder of the cartel s henchmen by chigurh the entire thing has bell feel ing overmatched at the center of the film is llewelyn moss exodus from everyday life after he steals a satchel of money every violent entity on the border is looking for him including the police and cartels chigurh is presented as the primary antagonist and moss as the film s hero moss is likeable and can hold his own against the powers after him this is proven to viewers by the film s reference to his vietnam experience he is established as a normal guy thrown into extraordinary circumstances that everyone in the audiences can cheer for throughout the first two acts of the film the viewers want moss to get away with the money and kill chigurh the coen brothers and author cormac mccarthy have something different in mind for moss in movies the everyday human can often hold his or her own against violence but on the border not even a protagonist in a hollywood film can escape the violence one would think that moss would meet his end in a battle with chigurh of climatic proportions but that is not the case moss undoing is off screen and the audience is simply shown a body laying in the entrance to a hotel room he does not even die at the hand of chigurh he is simply killed by anonymous hispanics with uzis who are seen driving away seeing moss body pushes sheriff bell into a state of defeat at the end of moss story the audience never knows who obtains the satchel of money or where it is now with the main hero dead and the enemy on the loose the audience is left defeated just as much as bell the coen s and mccarthy purposely craft this subversion to express the madness that is created over drugs and money roscoe illustrates this madness when talking to bell in a diner it s all the goddamned money ed tom the money and the drugs it s just goddamned beyond everything what is it mean what is it leading to moss is the example of what happens when an everyday person becomes entangled in the viscious border sheriff bell even explains the death of all the men involved in the drug trade as being natural to the line of work they was in sheriff bell s nostalgia for past reflections upon old timers not needing to carry pistols and creating law and order just because people wanted order is obviously idealistic to bell times have changed and like sam in lone star bell has trouble coping with it the broken sheriff states i used to think i could at least some way put things right i don t feel that way no more this hostility seems far too great for him to do anything about it he does not understand the nihilistic void left by the drug trade a void where human life means nothing and psychopathic killers can roam with no worries of the law also similar to lone star bell s sense of history is corrupted and shown as myth an old friend of bell informs him that he is not dealing with anything new shot down on his own porch there in hudspeth county there was seven or eight of em come to the house wantin this and wantin that mac went in and got his shotgun but they was way ahead of him shot him down in his own doorway aunt ella run out and tried to stop the bleedin him tryin to get hold of the shotgun again they just sat there on their horses watchin him die finally one of em says somethin in injun and they all turned and left out well mac knew the score even if aunt ella didn t shot through the left lung and that was that as they say what you got ain t nothin new this country is hard on people hard and crazy got the devil in it yet folks never seem to hold it to account bell believes his old friend but simply shrugs off the violent story the fact that people have been killing on the border since cultures began clashing and that money has been changing hands does not alter bell s feeling of being discouraged this is discouraged in the truest since of the word where it sparks a negation of courage the film ends on this note with little closure and no real victory on any side lone star concludes similarly but with a small hope for the future pilar and sam can move forward even with the past in their memory bell on the other hand is rendered useless in the closing scene of no country for old men bell tells his wife that he will help around the house now that he is retired and she says he better not even in his wife s presence he is unable to sayles the social and racial situation on the border has hope and life within it to mccarthy and the coen brothers the border is a cesspool of violence with little meaning other than selfish greed bell fails to live up to the ideal he establishes at the start of the film when he says i don t want to push my chips forward and go out and meet something i don t understand a man would have to put his soul at hazard he d have to say o k i ll be part of this world in the end of the films both sheriffs retire sam with closure and bell with dissonance no country for old men and lone star highlight a turbulent culture on the border no country for old men uses a distraught sheriff to show the disconnect between idealism of the past and a new type of violence brought into the south of texas by drug cartels in the 1980 s lone star is set apart from no country in that it focuses on the interconnectedness of cultures on the border deep within sayles film is the notion that borders and division creates a state of hostility no country for old men has no solution for the violence it merely serves as a literary piece to strip away any romantic notions of the border utilizing gruesome violence and the failure of courage and justice lone star on the other hand presents the social situation on the border as dysfunctional not hopeless sayles uses metaphor and flashback to show that borders are national constructs which create a state of violence and social alienation each film is a snapshot of prevalent issues in mexican american history encapsulating specific time periods as well as ongoing quandaries along the border bibliography no country for old men directed by joel coen and ethan coen 2007 gordon rebecca m psychic borders and legacies left hanging in lone star and men with guns in sayles talk edited by diane carson and heidi kenaga 215 237 detroit wayne state university press 2006 maril robert lee patrolling chaos the u s border patrol in deep south texas lubbock texas tech university press 2004 rotella sebastian twilight on the line underworld and politics at the u s mexico border new york w w norton company 1998 ryan jack john sayles filmmaker london mcfarland company publishers 1998 lone star directed by john sayles 1996 1 maril robert lee patrolling chaos the u s border patrol in deep south texas lubbock texas tech university press 2004 pg 148 2 ibid pg 149 3 ibid pg 150 4 ibid pg 145 5 ibid pg 145 6 gordon rebecca m psychic borders and legacies left hanging in lone star and men with guns in sayles talk edited by diane carson and heidi kenaga 215 237 detroit wayne state university press 2006 pg 215 7 ryan jack john sayles filmmaker london mcfarland company publishers 1998 pg 225 8 ibid pg 223 9 ibid pg 226 10 ibid pg 224 11 ibid pg 226 posted by nick sayers at 8 55 pm 1 comment email this blogthis share to x share to facebook share to pinterest labels border lone star no country for old men western saturday april 24 2010 new pre alien news scott says it s set in 2085 about 30 years before sigourney weaver s character ellen ripley it s fundamentally about going out to find out who the hell was that space jockey the guy who was sitting in the chair in the alien vehicle there was a giant fellow sitting in a seat on what looked to be either a piece of technology or an astronomer s chair our man tom skerritt as captain dallas climbs up and says there s been an explosion in his chest from the inside out what was that i m basically explaining who that space jockey we call him the space jockey i m explaining who the space jockeys were the film is about the discussion of terraforming taking planets and planetoids and balls of earth and trying to terraform seed them with the possibilities of future life read it all here posted by nick sayers at 12 58 pm no comments email this blogthis share to x share to facebook share to pinterest labels alien alien prequel thursday march 25 2010 amazing fight scene hitler was a starfish posted by nick sayers at 5 12 pm 2 comments email this blogthis share to x share to facebook share to pinterest monday march 22 2010 predators trailer in case you haven t seen it yet posted by nick sayers at 8 48 am no comments email this blogthis share to x share to facebook share to pinterest labels predators thursday march 18 2010 expendables are you f n ready this is one of the coolest posters i have seen since the golden age of posters in the 80s posted by nick sayer...