In one way, it represents how a decision can set off a chain of events that one has no capacity to change, akin to the butterfly effect.
In fact, the drug bust where our protagonist, Josh Brolin’s Llewelyn Moss, decides to cut with the cartel’s $2 million is significant. The only real film score it has is the wind, giving it a natural, lonely ambience, and when taken in tandem with the film’s opening shot of the desert, it positions the fictional version of West Texas as representative of the American Eden - untouched by modernity - but with this overwhelming sense of the calm before the storm. Minimalist like Blood Simple and Fargo, No Country for Old Men is noted for its lack of music. You can’t stop what’s coming, it ain’t all waiting on you.
He says: “What you got ain’t nothing new. In this sense, it is modernity and the War on Drugs. However, Ellis, Ed Tom’s cousin, provides a foil to this, telling Ed Tom and the audience that the evil has always been there, it just comes in different forms. Positioned as a remnant of a bygone era, he embodies the central philosophical theme of the novel and film, that the world is changing and is bringing with it a new form of evil. Tommy Lee Jones’ portrayal of Sheriff Ed Tom Bell, perfectly brings McCarthy’s character to life. However, the film takes the blood-drenched nihilism of the book, and turns it into a serene masterpiece, a new construction of the revisionist westerns of Anthony Mann and Sam Peckinpah, brimming with juxtapositions.
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