1、主要人物：

Sheriff Ed Tom Bell

Anton Chigurh

Llewelyn Moss

Carla Jean Moss

Carson Wells

（1）Anton Chigurh

他是个怪人。他没有人性，连“恶”的人性也没有，不贪财不好色，甚至没有万能的弗洛伊德式的童年创伤性经验，没感情，保全自己利益永远要放在嗜血本性之上；有自己的笃定坚持的原则和行为规律，至于金钱和毒品以至于一切事物之上的原则，他杀人的原则就是逆我者必亡和硬币理论，适用介于可杀与可不杀之间的情况，需要“由上帝掷骰子来决定”，有着上帝一样天然的不可抗拒力。

他是撒旦转世，他的行为是撒旦在人间的欢歌，他代表着对社会和法律的挑衅，不受人间法律的约束，有着死本能。

He is a freak. He has no humanity, even the humanity of evil, no feeling, no greed for money and sex, has no universal Freudian childhood traumatic experiences. He is wake and not insane, he always put himself upon the bloody nature.

But he has his own principle and behavior rules which are upon everything else. He kills people because they behave against his will or decides to kill or not kill by coin.

He is Satan reincarnated in the world and represents the provocation/challenge to the society and law. He has a strong death instinct.

（2）Sheriff Ed Tom Bell

代表人间秩序和法律。是OLD MAN。

He represents the law and justice, the old man in the name of the film.

（3）Llewelyn Moss

2、主题与特点：

黑色幽默、荒诞讽刺

宿命论、暴力犯罪、人性贪婪

（1）黑色幽默：对未来的不可知来证明世界的残酷；在车祸之后，重伤的杀手依然可以逃离警察的追捕。虽然逃的狼狈，很有些角色对换的喜剧效果。

（2）荒诞讽刺

（3）宿命论：

世界被一股无形的力量所控制,就像那个硬币一样。在世界里，在生活中，人和任何一样渺小的东西一样，走向都是偶然的，这偶然有逻辑，一件事情确有另一件事情的引导，但逻辑不掌握在人手里，掌握在上帝那只偶然的手里。 因为摩丝想到去送水，紧接着又被墨西哥人发现。而逃亡才侥幸躲过了史格直接用信号发射装置找上门来,史格和贝尔喝牛奶的地方,镜头一直在拍被风吹动的窗帘,风,一直是作为一种看不到,摸不着的力量，代表了我们每个人的命运。

史格代表的是世界上邪恶的,贪婪的,不好的力量,他们和所有人一样也会被命运之手戏弄,莫名其妙就出来车祸。生命力顽强的莫斯，突然死在与剧情无关的街头暴徒手中，仿佛是一场上帝玩笑导致的命运。

The world is controlled by some unknown power, like the coin. In the world and life, people are small like everything. There is some logic in the contingency. But the logic is not decided by man but the GOD.

Anton represents the devil and bad power, but hurt by car accident; and moss was so strong that he escape the hunting of Anton, but killed by Mexican.

Everything seems that God has made a joke of the fate.

（3）人性贪婪：人会因为金钱而变坏。小朋友拿了钱，立刻开始争这钱是谁的。这和前面Moss花钱买衣服如出一折。

Greed is sin. People will get bad because of money. The boys get the money from selling his clothes and start to ague whose money it is, just like Moss paid to get his clothes.

（5）暴力犯罪：影片在细节处揭示的是犯罪无所不在，暴力以更隐秘更极端的方式出现，从而带有突发性的残酷。试图展示出美国社会的恐慌感。

Violence and crime: the film has shown that crime is everywhere and the panic of the American society. Violence came in the so secretary and extreme way that it is sudden and cruel.

杀手毫无道理的杀戮和暴力，更难对抗，也更难追踪，几无规律可循，也加深了杀手的恐怖背影。

3、内容：

美国西部生活的全部方式以及那种以快节奏逼近的结局；在一个堕落的世界中，最后的荣耀和正义；正在进行的人性与邪恶的对抗；黑色喜剧与现代暴力；诱惑、生存和牺牲之间的相互作用；不断升级的混乱；对黑暗时期残存的爱和一线希望的感动；人类有关对与错、诱惑与荣誉的权利和规则；可容纳更多暴力和无视法律的现代美国

4、为什么叫老无所依，作何解释？

当恶变成一种纯粹的恶，无从理解也无从破解，而他又充斥着这个社会的时候，年老者的经验：他们相信人性、道德、个人奋斗，相信勇气智慧和力量能战胜邪恶，他们所重视的个人和荣誉和坚守的信条，似乎都靠不住了。

当一个人越老，越发感觉自己对于世界的控制能力是如此的薄弱，世界是如此的荒诞不经。原先的世界不断崩塌陷落着，而倾塌中的碎片又不断拼贴连粘成新的世界，塌陷连粘中，时间过去了，人老了，不再有力气去适应新世界。没有什么社会，什么国度是适合老人的，是因为老人对于世界的认识更加透彻却也更加无力。

Moss的岳母的葬礼，暗示了对于老人，死亡是他们的最终去处。Tom的叔父告诉他“你无法控制事件的发生，那是无用的”。埃德以为退休了就有个温柔乡、宁静乡、安详乡可以依靠，结果没有，结果只有个梦，而且梦不长，很快醒了。

生活不可依靠，规则不可依靠，自己也不可依靠，这世界无可依靠的。一切都陷入虚无主义。 When the evil is the pure badness, we cannot understand and solve it. But when the whole world is full of evil, elders believe in humanity, moral, and self-struggle, and think that bravery, Wit and strength can beat evil. But the individual honor and the belief they value are no longer reliable.

As the time passing by, people got older and cannot get used to the new world, he will find the world is absurd and uncontrollable. No country and no world for old man because the better they know about the world, the more helpless they feel.

The funeral of Moss’s mother in law implies that death is the end for old man. Tom’s uncle tells him “u cannot stop what’s coming”. Ed thinks that he will have a gender and quite country to rely on after retirement, but there is none. That is a dream, a short dream, and he will wake up soon.

Life is unreliable, the principle is unreliable, the self is unreliable, and the world is unreliable. Everything leads to nihilism.

? “William J. Devlin notices that "in No Country for Old Men, without the final showdown between the hero and the villain, good cannot triumph. And so we see that the good either is killed (Llewelyn) or runs away (Bell). But does this mean that evil triumphs over good? Not necessarily. Bad guys, such as Wells and Chigurh's boss, are killed, but it takes an even worse person to do it. Though that may seem to suggest that in the end evil wins, the film ultimately suggests something even worse: what is good and what is bad is all a matter of chance. Whether it is the attendant who lives by correctly calling the coin flip, Carla Jean who dies, Bell who ends up not confronting Chigurh, or Chigurh getting into a car accident–all of these events occurred by some degree of chance. This suggests that the question of good versus bad is no longer a significant question since these values can no longer be applied to individuals . . . . This leads to nihilism. “

? “That is, Ellis suggests that there is no meaning, no value, to our actions in life. Acting according to moral justifications of justice, duty, courage, and so on is pointless. Further, as Bell explains his feelings of being 'overmatched,' he is disturbed by the thought that God hasn't helped him: 'I always thought when I got older God would sort of come into my life in some way. He didn't.' For Bell, God's presence in his life would help him to see his life as meaningful; without God, Bell falls into nihilism and is discouraged. Finally, Ellis summarizes the situation to Bell: 'What you got ain't nothing new. This country is hard on people. . . . You can't stop what's comin'.' . . . As such, the West is now a world where there is no rhyme or reason, and those within it are never held accountable. It has become a country without meaning and without any inherent value. The country, in short, has collapsed into nihilism.”

 

第二篇：老无所依影评

当恶变成一种纯粹的恶2008-01-08 20:12:22来自: 浅草 5No Country for Old Men / 老无所依的评论影片最后以老警长的无力的醒悟为结束，走到这个醒悟，相信大部分观众都会觉得仓促和无所适从， 历经数次意外的刺激的情节转换后，竟然以一个老人絮叨自己关于父辈的梦而结束，没有英雄，没有胜利， 没有结局，也没有对未来的预测，只觉得震撼而无望。 导演用了大半的时间讲述猎人和杀人魔的周旋，猎人一如传统西部片里有勇有谋有性格的牛仔，杀人 魔则冷酷精明而无处不在，如果在数次交锋后，道高一尺磨高一丈，在最后一分钟牛仔险中求胜，半死不 活浑身染血的回到妻子身边，这会是一个经典的西部片。仅仅凭导演对镜头和叙事的掌控：拘留室内杀人 魔勒死警察时的面部特写，警察死后对地板上挣扎痕迹的特写；西部荒漠在明晃晃的日光下静的让人发慌， 无边的暗夜中突然危光微闪；不管是阳光下还是黑夜中，枪声总是突然爆发随之又陷入寂静，谁不知道下 一声枪响是不是冲着自己而来，生命在这个荒漠中，脆弱而又源源不断，活着的人应当见怪不怪；牛仔和 杀手数次斗志斗勇化险为夷……这仍然是一部值得一看的西部片。 这不是一个简单的关于个人英雄的故事，我们的牛仔在枪战中轻易的死掉了，这个世界没有不败不死 的英雄，如老警察给牛仔老婆讲的那个故事，再厉害的人，也可能在任何环境下被打败。这里要赞一下汤 米.李.琼斯的演技，之前那个对年轻下属徐徐叨叨卖弄经验的老警长，在牛仔死后，也就是影片最后四十分 钟，转变为主要角色，如果没有抓人的力量，观众不太可能从牛仔的故事中走出来而去关注他所要表达的 东西。这时我希望，老警长用他的正义感或者丰富的经验、哪怕仅仅凭他的毅力能最后抓到杀人魔，这样 我们能如释重负，道德上得到满足和安慰，也可警告一下自以为是的年轻人，年老者仍然蕴涵着爆发性的 力量，他们更了解这个世界，这样变成了一部充满人性关怀的主流道德片。 可是老警长几乎动用了他所有的经验和智慧，杀人魔仍风影无踪不可琢磨，报纸上报道的那么多不可 思议毫无人性的恶性事件，作为警察的他也只能像听听天方夜谈一样，无从追踪。老警长先于观众感到无 力和绝望，看不倒未来的时候，他回忆过去，梦见了父亲和祖父，他们在他们的时代破案无数英勇无比， 这份荣耀在他身上本应该继续。不是他不够优秀不够努力，是因为这个世界变得无从以以往的逻辑和方式来理解，杀人魔作恶，虽然以两千万美金为追踪线索，但如那个私家侦探所说，其实与美金和毒品无

关。 大概老警长的父辈祖辈的时代，所谓恶人，无非不是因为色就是因为利，而这人类的弱点迟早让他们败在 别人手下。如果牛仔与杀人魔想实打实的交锋的话，两人实力半斤八两，但是牛仔其实输在人性上，他要 钱，要保护妻子，所以杀人魔能威胁控制他。反观杀人魔，他没有人性，连“恶”的人性也没有，不贪财不 好色，甚至没有万能的弗洛伊德式的童年创伤性经验，没感情有原则，原则就是杀人，有着上帝一样天然 的不可抗拒不可捉摸的力量。 当恶变成一种纯粹的恶，无从理解也无从破解，而他又充斥着这个社会的时候，年老者的经验：他们 相信人性、道德、个人奋斗，相信勇气智慧和力量能战胜邪恶，他们所重视的个人和荣誉和坚守的信条， 似乎都靠不住了，这大概是片名的意思，这是一个与过去断裂的社会，它的内在逻辑，在过去社会成长并 成功的人怎么能把握得了呢。