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Born May 18, 1953; got saved at Truett Memorial BC in Hayesville, NC 1959. On rigged ballot which I did not rig got Most Intellectual class of 71, Gaffney High School. Furman Grad, Sociology major but it was little tougher than Auburn football players had Had three dates with beautiful women the summer of 1978. Did not marry any of em. Never married anybody cause what was available was undesirable and what was desirable was unaffordable. Unlucky in love as they say and even still it is sometimes heartbreaking. Had a Pakistani Jr. Davis Cupper on the Ropes the summer of 84, City Courts, Rome Georgia I've a baby sitter, watched peoples homes while they were away on Vacation. Freelance writer, local consultant, screenwriter, and the best damn substitute teacher of Floyd County Georgia in mid 80's according to an anonymous kid passed me on main street a few years later when I went back to get a sandwich at Schroeders. Had some good moments in Collinsville as well. Ask Casey Mattox at if he will be honest about it. I try my best to make it to Bridges BBQ in Shelby NC at least four times a year.

Monday, December 03, 2007

Who is the Luckier?

Below from the midNovember review of No Countryat
Orr has blog up today with even more links about the greatness with esoteric examples and dissection of No Country.
If you don't go see it on the best screen you can find; well then you don't know nothin, don't appreciate nothin and don't deserve to be reading my blog.
I'm sorry but that is the way I feel about it.

Sam Bobbit of the "advantage, lives on County Road 355, a dirt road."
I've seen it three times and me go twiced more.
And if you appreciate good film and want to see anuthern a friend of mine with his wife recently saw in Paris, not Texas; the google up ferdyonfilm.

But today belongs to Cormac McCarthy who I just missed by a few days on the streets of Knoxville in 79; and the Coen Brothers.

But even as No Country for Old Men recalls past Coen brothers films, it represents something new. Though they have mined literary sources in the past (Hammett for Miller's Crossing, Homer for O Brother), this is the Coens' first true adaptation. And while their trademark flourishes still appear--the meticulous compositions (a pickup on a hill silhouetted against the night sky), the ominously amplified sounds (a candy wrapper uncrinkling, a light bulb being unscrewed), the snatches of absurdist dialogue ("You get a lot of people who come in here with no clothes on?" "No, it's unusual")--they are anchored to something weightier. McCarthy's ferocious tale gives the Coens room to unleash their cinematic gifts, but keeps them from wandering too far afield and losing themselves in the marshes of technical prowess or easy irony.
The result is a masterpiece, a film by turns harrowing and contemplative. There are moments when it is difficult to stay in one's seat--a scene in which Moss is chased down a river by a dog-paddling pit bull; a hotel encounter with Chigurh that is as extraordinary an exercise in sustained suspense as I can recall--and moments when it feels hard to get up out of it. Like the novel, the film ends on one of these latter moments, with the recounting of a dream. It is a dream about death, but a death more welcoming than feared. "You can't stop what's coming," a character advises late in the film, and indeed there's only one thing that comes for all of us. For some people it will be sudden and unexpected, perhaps the violent outcome of an unlucky coin toss. For others, it will accumulate over time, enough time for them to recognize what's been lost, to fall out of step with the world. The very title of No Country for Old Men suggests which people might be the luckier.
CHRISTOPHER ORR is a senior editor at The New Republic.


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