Explain the end


I watch this movie for the first time.My mind is not clear :)

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The Mexicans find moss at the hotel room and a shoot out ensures . Llewelyn is killed aswell as a Mexican . Ed tom arrives as they escape . They all assume they got the money but since it was a shooting then an escape done so fast maybe they had no time . The sheriff goes back to the hotel and we see the air duct removed and are now sure that Anton went back into a crime scene to retrieve it . ( was mentioned earlier in the film that he just goes back into a crime scene ) The scene ends where ed tom talks about him not understanding the modern criminals, retiring and his mortality .

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I think that the point was that in this time of ultra violent drug rings, the law might win a few, but it's nothing compared to the height, breadth and width of the drug trade and no matter what, the law isn't going to be able to stop it. Even if they had gotten the killer, that would have ended nothing. The sheriff in the end is lament that like his dad, all lawmen die, but can really do nothing to stop the situation. The drug trade will just get bigger and more violent.

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Yes and no. Except for a few cities violent crime is at an all time low in the US.

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Ed Tom had a defeatist attitude. While in El Paso he should've strolled across the border to Juarez. It could've given him a whole new outlook on the effectiveness of law enforcement. lol

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So was Carla shot in the end or did she win the coin toss? And who was driving the car that caused the crash in the end?
The ending of this movie sucks big time.

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He killed her bec she refused the coin toss.
The guy driving the car in the end was just an unlucky bloke.

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He killed her because he was keeping his promise to Llewelyn.

Para tiempo means nada nunca.

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Wait, so did Llewelyn Actually make him promise to kill her?

Hello...My name is Inigo Montoya...You killed my father...prepare to die.

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[deleted]

I think the idea was that Sugar speaks deliberately, and since Lewie chose to live, now he's going through with honoring the deal they technically made.


Pizzacoolio, you need to mail me a check for a hundred dollars. If you don't do it I'm going to slash your tires.

Technically you and I have just made a deal; you are honor-bound to comply, and if you don't, your car is accountable.

My slashing your tires is technically me just adhering to principles - principles that transcend money or cars or IMDb.

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LOL.

Well this is just a deal gone wrong.

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Ok, it didn't seem lke Luwelyn would do that since he went through all that to protect her.

Hello...My name is Inigo Montoya...You killed my father...prepare to die.

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I believe the point was that Llewelyn was doomed from the beginning. There was no way for him to stay alive. Except he was too cocky to realize that (any of us would), and Chigurh was the only one who knew this for certain.

So, Chigurh made him an offer: either Llewelyn handles him the money and Chigurh lets his wife live (but not Llewelyn), or Chigurh continues his hunt and kills both of them. As we know, Llewelyn refused to give him the money, not because he wanted Chigurh to kill his wife, but because he thought he would have the chance of killing Chigurh, keep the money and going back to his wife.

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Anton decided early on to kill Carla Jean because Moss took the money and ran.

In their final confrontation, Anton told Moss that he would spare Carla's life if Moss turned over the money to him. He said Moss' life could not be saved.

Moss refused to turn over the money, and thus refused to save his wife, so Anton proceeded to kill Carla Jean.

"Smokey, this is not 'Nam, this is bowling. There are rules. "
-Walter Sobchak

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"The ending of this movie sucked big time"

Say the people who don't understand one single theme from the film (Or ANY Coen Film for that matter)

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I like films by the Coen Brothers, but they have a habit of sticking some really vague WTF moments at the end of their films. It's an interesting tactic, as you keep thinking about the final scene long after you have watched the movie, but I honestly don't think there's a lot behind these moments and one is liable to spend more time analysing the final scenes then the Coen Brothers did writing it.

Examples include:
Blood Simple - M Emmettt Walsh lying on his back, watching the water drip from the pipe under the sink.
Barton Fink - John Turturro spotting a woman on the beach that is the spitting image of the painting in his hotel room, right before a seagull plunges into the water.
The Man Who Wasn't There - The preoccupation with UFOs throughout that culminates in Billy Bob watching a UFO outside of the jail.
No Country For Old Men - Tommy Lee Jones' recollection of the two dreams he had.

If you can explain the significance of these scenes, I'd be surprised, because I don't even think the Coen Brothers could. Muddy waters are not always as deep as they appear to be.


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I'd say the middle of the scene sucked the most - u know, the missing action sequence between the dude and the mexicans. Coen bros can do decent stuff, but this time.... well, apparently this movie is highly rated, so who tf am i to complain? I thought it was lazy - they had a fairly well directing thing going and it feels like they ran out of money, so instead of showing the action sequences, they've decided to simply narrate it. Though, it can also be argued that they figured it would be more artistic this way, because they are fucking coen bros. and their shit has to smell different. Otherwise, if you ignore all that, the story is quite simple.

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Der der derdy der gee yer so smart der der derp. Quiet down, you pompous ass. The corn brothers are nowhere near the intellectual gods that you proclaim them to be.

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It couldnbe seen as kind of ambiguous, but when he leaves the house he checks his boots. Think back to when he killed Woody Harrelson's character. He got his feet out of the way as the blood was rolling toward him

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[deleted]

[deleted]

It's implied at the end of the scene that he killed her. When he walks out, he checks his boots for blood, as he always does. Undoubtedly because she was an innocent, likable and sympathetic character, the Coen brothers elected to not show the actual killing.


Ladies and gentlemen...Mr.Conway Twitty

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At least in the book she lost the coin toss, she called heads, can't remember how the movie presented it.

The driver who caused the accident remained unknown but one could interpret it as either a planned hit or a pure accident as the driver "[...]had run a stopsign. There were no skidmarks at the site and the vehicle had made no attempt to brake."

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In the book the occupants of the other car died. That would be a funny planned hit.

Obviously in real life it would be a pure accident but don't you think in books or movies it could be something different? Is your understanding of the art form so limited?

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Yeah, you're right. Hadn't read the book in 10 years and just looked up the first passage about the car crash.

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The scene where he walks out of her house, he checks his feet for what I assumed was blood. Just my observation.

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I also thought the ending was terrible. I just never understood why this movie was considered so great. The ending wrecked the whole thing for me.

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I just never understood why this movie was considered so great

Why? Were people hiding their reasons for thinking highly of it?


"You must not judge what I know by what I find words for." - Marilynne Robinson

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I think this movie is one the greatest movies of all time with perhaps the most terrifying villain of all time. This style of film doesn't try to make you feel things that the situation itself without music would make you feel and also bare bones as far as exposition. Literally nothing that Anton had done in the movie leading up to that point would or should suggest that he didn't kill Carla Jean. Only wishful thinking would, which is not what this movie is about. It's about quite the opposite actually

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Older people were reviewing it, I expect. Older people get it. It just ain't no country for old men.

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Carla Jean was killed, no doubt in my mind. It's been a while since I saw it, but I think I remember one scene I couldn't quite puzzle out. When Ed Tom goes back to the motel room where Llewelyn was killed, was Anton in the room? Did they see each other through the busted lock? If they did, where did Anton hide?

"...you're an animal!" (sobbing) - "No, worse! Human! HUMAN!"

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Checking his boot soles as he leaves the house tells us that he shot her and is looking for blood. Remember his bloody socks at the first hotel?


Todd.

Die Madison, just frikken die already!

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The question which nags me is that final crime-scene scene. When Tommy Lee Jones enters the room, the tape has been cut and someone has removed a heater grate. Of course, we assume Chigurh did this and they intact show him with a circle of light on his face. We can assume that the light is shining from TLJ's car and through a bullet hole in a wall but no matter how many times I see the ending, I can't puzzle out just exactly where Chiguhr is hiding.


Todd.


Die Madison, just frikken die already!

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Are you having a bit of fun or do you not subscribe to the "he's a visualized representation of Bell's fears and not really there" interpretation?

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The latter, I guess.


Todd.

Die Madison, just frikken die already!

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It's a fancy pants trick by the coens. They show you sugar then they pull the rug out from under you.

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... it really tied the room together



I couldn't believe when I read his filmography that he played a toilet (no joke) in According to Jim

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Mind blown.

Hello...My name is Inigo Montoya...You killed my father...prepare to die.

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[deleted]

Then where does he hide when the sheriff enters? He's not that skinny he's hiding behind the door.

"...you're an animal!" (sobbing) - "No, worse! Human! HUMAN!"

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[deleted]

No, there was not enough room to just stand behind the door. Watch the reverse shot: the door swings all the way to the wall and rebounds a few inches.

Chigurh is not Gumby.

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[deleted]

The door hits the walll with its handle and leaves about 2" space. Chigurh is not Gumby. Nor is the satchel full of money able to shrink into a teeny thin strip. Look at the image again; no human being could be "behind" the door after Bell swings it open.

The earlier shot of "Chigurh" is expressionistic, not realistic. It's about Bell's state of mind. Chigurh had come and gone.

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The earlier shot of "Chigurh" is expressionistic, not realistic. It's about Bell's state of mind. Chigurh had come and gone.

That was so existential it made my head hurt.

Ladies and gentlemen...Mr.Conway Twitty

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he is hiding in Ed Tom's mind.

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I fell like I've just witnssed something great. I don't know what though.

Hello...My name is Inigo Montoya...You killed my father...prepare to die.

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I always thought Chigur was in the room next to Moss's when Tommy Lee pulled up like he was in the room next to Moss's the previous time so he could try to get the money hidden in the vent. He went into Moss's room previously to see if he could find the suitcase but went back to his room next to Moss's. He still would have seen the lights of the police car pull up and did not want Tommy Lee Jone to know anyone was in that room in case he wanted to ask questions of anyone next to the room about who just broke in.

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but went back to his room next to Moss's.

The next room has a reverse layout, so what we see of Chigurh's positioning makes no sense if he was in that space. It only makes sense according to the layout of Moss's room.

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Earlier in the film, Tommy Lee Jones character says he thought God would have come into his life by now. His second dream in the final scene is a revelation. Whether he realizes in that moment or not, God has entered his life (or has always been). This isn't a flawed masterpiece of a film, it's a genuine masterpiece. It's a work of art, like a Picasso is a work of art.

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His second dream in the final scene is a revelation. Whether he realizes in that moment or not, God has entered his life.
Yes that's one theory that his father carrying the horn of flames represents the light of God. But there is also another theory that the horn of flames symbolizes the old way of life Bell held such affection for.

True what you say that screen time is given of him reflecting on God, but the same can be said for his reflection on his beloved old way of life.



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Inger, you must rot, because the times are rotten.

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A recurring theme throughout the film is Bell calling the situation before he knows it. Example: He talked about how they kill beef with that tank Chugar has. Bell didn't yet know that was the weapon Chugar was using. He was making all the right connections throughout the entire movie. Even at the beginning, giving his thoughts on the crime scene, on Moss..

That scene with Bell and Chugar looking at each other through the busted out lock hole, the dark part that Bell is looking through and seeing Chugar, and the bright yellow 'fire' like part on the other side of the Door Chugar is looking through (bright because of the headlights). During the ending monologue Bell is describing the fire in the horn with his dad riding on past. To me, it means he faced death, but Chugar for one reason or another just let him go, and escaped before he opened that door. The scene where they're looking at each other through the punched out lock hole really stuck with me when he talked about the fire in the horn, glowing yellow.

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Bell didn't yet know that was the weapon Chugar was using

By the time Bell meets CJ, he'd likely know that the murdered deputy told his Sheriff that the guy he arrested was carrying a gas canister "and a hose from it run down his sleeve." He definitely knows that the motorist's head had an entry wound but no bullet. He also definitely knows that Moss's trailer lock was blown out. So I think there's a good chance Bell had deduced it.

when he talked about the fire in the horn, glowing yellow.

It didn't glow yellow:

I could see the horn from
the light inside of it. About
the color of the moon.
Chugar... escaped before he opened that door.

Chigurh had already come and gone. The shot sequence shuttling between Bell and Chigurh inside and outside the door is expressionistic, a glimpse of Bell's state of mind, not a realistic depiction.


"You must not judge what I know by what I find words for." - Marilynne Robinson

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I didn't realize it was an expression, that makes sense, but they didn't just show Bells perspective, they showed Chugars point of view, which was that yellow glowing lock hole, but Bell is seeing that silver/moon reflection of the suppressor from Chugars gun. You really think in 'reality', Chugar wasn't behind the door?

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they didn't just show Bells perspective, they showed Chugars point of view

Yes, which reinforces our fear, helping us be in Bell's shoes in that moment. It's not literally what Bell's imagining, but representative of it.

Bell is seeing that silver/moon reflection of the suppressor from Chugars gun

I've looked at that image pretty closely. I think it's a distortion of Bells own image, the hat, etc. It moves as he does. It's also brightly lit, which matches the lighting on the outside of the door only, lit up by overhead light and the car headlights.

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Ok, again that makes sense and I like it. BUT.. in the scene its clearly showing the two looking at each other's reflections in the lock hole. Whether it's 'reality' or just Bells mental perspective, Bell saw Chugar in that lock hole. That goes along with the whole "ghost" description of Chugar, as when Bell opened the door, Chugar was not there anymore.

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I think the use of the lock hole is genius. Following the editing sequence, the shiny, curved brass walls of the empty lock cylinder act as a kind of device, like a conduit that guides the transfer from our own view of a literal, external image (Bell looking fearful, gazing at the lock) into his internal, subjective, non-literal POV (his own, moving, amorphous reflection, which he might assume is that of the monster lurking inside). Then when he opens the door he sees overlapping silhouettes of himself - cowboy hat, standing tall. Then, reverse shot: hat, gun, framed in the doorway iconically (and ironically) like he's a gunslinger in a Western. Fabulous stuff.

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I just REALLY think that punched out lock hole scene has a lot to do with the ending monologue, but your explanation is fantastic. I'll go with yours.

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But I swear he's seeing Chugar. It might be his projection of Chugar, but we see that firearm suppressor, the image was clear enough to know that's what Bell was looking at. Whether he was actually there is what you've convinced me to question.

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But I swear he's seeing Chugar.
If you think Chigurh is in the room, where are you imagining he is standing? Bell searches around including the bathroom. He notices the bathroom window is locked from the inside, so it's not like Chigurh jumped out the window just as Bell enters. Can't be behind the exit door. Bell swings it wide open until it hits the wall, there would only a 3-4 inch gap between the door and wall. There's really no other place left Chigurh could have been.




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Inger, you must rot, because the times are rotten.

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Well, I have read people who seriously thought he was hiding under the bed. With the satchel. With the long gun. Dove under there in the seconds before Bell opened the door. Wiggled out of sight. Then wiggled back out again and took off while Bell was in the bathroom. Yes, that certainly is the character's m.o.

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Under the bed. It's a movie, so... I'm very intrigued by the idea of it being just Bells perspective, as I don't know of a reason for Chigurh NOT to kill Bell at that moment.. so character-wise, yes it makes sense that it's just an 'expression' scene from Bells perspective. I bought the book today because of this discussion. I've watched the movie so many times, I really want to explore the story more.

Really gonna get *beep* crazy here:
Perhaps Chigurh really was there, Bell entered and was killed. And What we see as soon as Bell enters the room is simply a change in the story arch where he doesn't get killed because Chigurh wasn't there in this arch, but later referenced that encounter with death passing him by at that end monolog, also referencing the fire in the horn (which to me still represents that blown out lock hole).

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when he talked about the fire in the horn, glowing yellow.
It didn't glow yellow:
I could see the horn from
the light inside of it. About
the color of the moon.
True that Bell did not describe it as yellow, but you assuming it was not yellow is not necessarily correct either.

It depends on the type of moon he was comparing it to. He could have been referring to what's called a 'honey moon' a regular occurrence when the moon glows amber due to being directly opposite to the sun and it's amber glow is especially prominent in the northern hemisphere, easily seen in Texas. Texans are quite familiar with a yellow moon over their land. Not long ago even a song was made, Big Yellow Moon Over Texas.




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Inger, you must rot, because the times are rotten.

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Sure, it's possible. What is the most common association with the colour of the moon when mentioned in stories? A warm honey tone?

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In my region? Probably not yellow. In Texas where a yellow moon is nearly as familiar as a silver moon especially during the summer when the moon not only appears large, it has a distinct amber glow. So who knows what color Bell was imagining.




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Inger, you must rot, because the times are rotten.

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LOL, this could get technical. I'm not even going to start on the seasons.

So, honey-toned or pale light, it's all good.

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Tell you what, let's coin flip.

Heads - it's yellow
Tails - it's pale light

I will let you flip the coin.....http://justflipacoin.com/




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Inger, you must rot, because the times are rotten.

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I guess that's what makes a great film, you can come to your own conclusion. The only thing I'd mention is that Chugar is evil incarnate. He's a ghost really, intangible. So now this is a film about good versus evil, Heaven and Hell, life and death, etc.

When Jones speaks of his father "goin' on ahead" and being there to comfort him further down the line, it's almost as if he's somehow found solace through all the dark and cold of this world. He resigns. Perhaps realizing he really can't stop what's coming as it was explained earlier.

I wouldn't say I'm a religious person, more spiritually minded, and I don't see that statement as pining away over the past, I see it more as hope and faith in the unknown - when it all comes to an end - highlighted by the ticking of the clock before the credits roll.

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Nobody makes a convincing case for sugar being evil incarnate. He kills mostly for business. He doesn't torture or rape any women.

Even in the movie the kid who kills his 14 year old girlfriend and wants to keep killing for the fun of it is worse.

You people must not see a lot of movies.

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Right, guess I'm kinda from the camp that any killing of people (less self-defense) is evil by definition. To argue with me on this point would make you a strange bird friend.

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The only thing I'd mention is that Chugar is evil incarnate.

In an interview, his creator Cormac McCarthy said he's "pretty much pure evil."

His evil is not located only in the fact that he kills people.

He's a ghost really, intangible.

Another way to say it: soulless. I think the story has to do with the influence of soullessness. Chigurh is mechanistic. An extreme determinist. There is no place for love in his world. Only power.

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Arnk is pulling back from sugar being evil incarnate to just evil like hundreds of thousands of others who have killed someone. That's quite a walk back.

Sugar has a third string story in no country behind bell and moss. At least sugar doesn't compromise people. Moss loves CJ and look how he compromises her. Moss is worse than sugar in the love department.

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At least sugar doesn't compromise people

LOL.

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Obviously I meant sugar doesn't compromise people he loves unlike moss and the kid who killed his girlfriend. Larks is so thick.

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sugar doesn't compromise people he loves


Can you name one of these people?

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Maybe it's a little obscure what I'm saying. In the movie sugar doesn't love anyone. Therefore he doesn't compromise people he loves.

Larks makes a point of sugar not loving anyone. What I'm saying is does moss or the kid who kills his girlfriend really love anyone? If you answer yes wouldn't CJ and the girlfriend of the kid be much better off if they didn't love them?

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That's a mighty tiny corner Dmaria's painting himself into.

Of course Chigurh compromises people, period. Dmaria is trying to qualify this so that Chigurh can only compromise others if he loves them. Which is ridiculous. He compromises because he is soulless and primarily concerned with power. He doesn't need to love anyone to compromise them, although to be incapable of love would obviously help to compromise any and everyone.

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Dmar writes:

Maybe it's a little obscure what I'm saying. In the movie sugar doesn't love anyone. Therefore he doesn't compromise people he loves.


Could we extend that logic and imagine a person who has absolutely no principles. This unprincipled person would, by definition, never violate or compromise his principles since he has none to violate. Would all that mean that the unprincipled person is the most moral of all? He aspires to nothing in his own conduct and therefore never fails to live up to that. Wouldn't such a man be a paragon of moral virtue according to the Dmar Paradigm?

What I'm saying is does moss or the kid who kills his girlfriend really love anyone? If you answer yes wouldn't CJ and the girlfriend of the kid be much better off if they didn't love them?


Do you have any evidence that the kid Bell sends to the death house up in Huntsville killed his girlfriend, or that his victim in any way thought they were in love and expected him to care for her?

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Maybe it's a little obscure what I'm saying.
Heh, heh......a little?

In the movie sugar doesn't love anyone. Therefore he doesn't compromise people he loves.
Umm yea.

That's like saying the TRex in Jurassic Park is not seen eating vegetation, so therefore the TRex is not a vegetarian.

Thanks for that, Captain Obvious.


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Inger, you must rot, because the times are rotten.

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Zone makes an excellent point with the trex I didn't think of. Zone is saying just because we don't see sugar in love doesn't mean he isn't.

I was commenting on larks saying there is no room for love in sugar's world. Repeat this 10 times guys. Dmar is focusing on Moss and CJ not sugar.

Larks brings up fascinating questions. People assume love is a positive. Larks does she chides sugar for not having love. But CJ dies at 21 because of her lover moss. The girlfriend of the kid killer dies at 14 for the same reason.

Larks raises another interesting question. Given all his actions that impact negatively on CJ did moss ever love her? Instead of taking the money and everything else moss would have been much better off taking CJ in the back and screwing her.

The final question larks raises is whether moss is better than sugar.

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People assume love is a positive

And they are right. Those who don't assume this are psychologically damaged. It is likely that Dmaria's ex-wife could speak to this confusion in him.

Powerful desires may have more influence than love at any given time, but that does not mean that love is not at all times a positive.

whether moss is better than sugar.

Chigurh is all about control. I think he's a little baby. I think he can't stand the vulnerability of being human and is desperate to defend against that experience. I think his evil is in justifying inflicting his own fate on others and thinking of it as principled -- i.e., as moral. But it's really just a desperate attempt to escape.

The Greeks and their dramatists were very interested in the flow of everything that happens to a person that is beyond their control. They had a word for it, sometimes translated as “luck.” Morality in Greek tragedy is the acceptance of that flow, of our powerlessness before fate. I don't think Chigurh can handle that. I think he tries to cheat, through his "principles," which make him feel as if equal to nature, less like a victim, less a mere mortal. His whole philosophy is designed to shield him from the experience of human vulnerability.

Instead, he makes others victims, inflicts that dread on others, as if by doing so -- such as with the GSO -- he could evacuate it from himself and transfer it. By imposing the toss on others he can delude himself into assuming he's distinct in that he is the one in control, aligned with fate, its representative, while they are the ones who are its passive, powerless subjects.

Who is he to inflict the coin toss on anyone? I don't think he'd ever put his life up to the toss of a coin because he already feels so acutely aware of fate - that he actually has so little control. The coin toss is applied to others, to show them, but mainly to show himself, that they are the ones who are vulnerable to fate.

But of course anyone who places such importance on control, on highlighting victimhood and vulnerability in others and his distinction from them, is just advertising his own terror of being in that position and desperate need to escape it.

In the book, McCarthy makes this more overt. He has Chigurh spell it out:

"She looked at him a final time. You dont have to, she said. You dont. You dont.
He shook his head. You're asking that I make myself vulnerable and that I can never do. I have only one way to live. It doesnt allow for special cases."
I don't think he can accept and live within human limits, in the sense of being at the mercy of fate. Which makes him a coward. To accept it is hard. It allows for pity -- not just words "I'm sorry," not just "the best I can do" being a coin toss.

Moss I think is in some significant ways similar to Chigurh. He's alienated from himself too, although not nearly so much as Chigurh is. He's alienated from his wife. He seems at times to show the amusement of one who sees his life looking outside-in, as if his life is a movie.

He seems to need to confront himself with that same mortal vulnerability by putting himself at great risk. Maybe he needs to see if he can overcome it -- to beat the odds, to put up his life and beat fate. I think it's not just that he's after the adrenaline rush he got used to in Vietnam. It's that, but the source is deeper. In that sense, I think he feels evil in the old sense of the word -- human vulnerability, mortality -- and wants to feel he can take it on. Better to "go out and meet" it, than to accept it and put up with the intense discomfort. That impulse would be similar to Chigurh's.

Of course, Moss's conscience is also a big influence. It's a measure of his self-alienation that he seems to be disagreeing with a third party while in bed, and just afterward refers to his mother, implying that her influence is so powerfully in the here and now that she might as well still be alive, giving her son moral heck. But Moss has at least that tenuous connection to conscience, as dumb as his means are of satisfying it.

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Larks does a long song and dance to avoid what I brought up. If love is so wonderful what good did it do CJ? She married lew over the strong objections of her mother. Lew must love her. Yet by taking the money then going back to the massacre scene in the name of conscience and what he kept on doing he caused her death at 21. That is awful young don't you think?

Maybe zone and Harry will understand it if I put it this way. At least sugar doesn't cause the death of anyone he knows or loves. Isn't moss worse than sugar in causing the death of the one he is supposed to love most?

People who think this movie is about fate are f-ed in the head. CJ's mom echoes sugar. She sees it's not fate but what moss has been putting up his whole life that causes his demise and that of her daughter. If he didn't stumble on the CGF it would be something else.


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If love is so wonderful what good did it do CJ?

Pavlov didn't understand the 2nd paragraph, and has no access to ordinary human psychology. He assumes that the intrinsic goodness of love is somehow less because someone didn't love well due to being under a stronger influence. That is like saying the intrinsic goodness of water is somehow less because someone is compelled to drink more pop.

At least sugar doesn't cause the death of anyone he knows or loves.

Pavlov has somehow forgotten that Chigurh knew Wells.

And anyway, to be so alienated from himself and humanity as to not be able to access even ordinary human connections, let alone love, does not make him better than Moss. Moss is not good at these things, but Chigurh is clearly worse.

Pavlov has swallowed whole the Chigurh-plum nonsense about everything being your responsibility. That's so extreme it is beyond anyone's ability to assert with credibility. Such a philosophy is inhuman. It's radically mechanistic, the quality McCarthy was criticizing. Missing that, Pavlov has missed what the story is about, and ends up advocating for "pretty much pure evil." He knows not what he's doing. CJ is not responsible for her own murder. Neither is the deputy Chigurh strangles. Neither is the chicken truck driver. Neither is the truck driver in Eagle Pass.

Fate is more nuanced than Pavlov apprehends. They don't deal with that in the Mother Goose books.

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