The Unveiling Shadows: Deciphering Chigurh's Enigma in Film - Free Paper

Chigurh is presented as an iconic character in the film and lets faith make judgments on the way people live their lives. He has been used as imagery for Texas in which no law existed, and the residents were required to either adapt to the situations or face death. Chigurh kills aesthetically with, for instance, a cattle gun which he assumes to be the most humane way to exterminate life from humans. He makes clean killings without being noticed using the silencer shotguns. He is well-informed about the history of coins and uses them to measure whether some people deserve life or death. Fate determines the destiny of the victims from higher power rulings, although he serves to execute the rulings.

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A feeling of intense discomfort is created in the film regarding the surrounding danger by structuring every shot around shot-reverse-shot. A bounce-back of a fatal conversation is employed between the shopkeeper and Chigurh. The scenes in the movie are juxtapositioned to reveal the disbelief of the evils perpetrated in the modern world. Since the shopkeeper and border guard help Moss to enter Mexico reveals that some good values can still be restored to the world.

According to Coen, Ethan, et al, the desert and the urban scenes are exposed differently in the film with the deserts revealed as burnt brown color which gives a perception that no hide-out can be found there. However, the urban scenarios are presented with garish coloration, which can potentially be used by the characters for hiding.

The rapid changes in cinematography present the characters to be struggling against time. For instance, Moss is depicted as going back to the drug deal site to give water to the Mexican driver, who was at the same juncture villain spot and pursued him. All of a sudden, the chasing happens at night; he manages to escape through a river downstream, and soon afterward, dawn arrives, and the sunshine brightly.

The sound design is created to build an excruciating level of tension when danger is imminent in the scenes. To illustrate, in the hotel where Moss hid, when Chigurh the assassin is arriving, a steady transponder beep, floorboard groaning, and phone ringing are aspects that instill fear in times of doom. Thus the film seems to have achieved inspiration from the changes that have occurred in the Western world.

Chigurh seems to have a commanding body language, and with his presence, the subjects of the environment to him. He is revealed to speak with a coarse accent that is slow in rhythm, indicating that no need for haste what is planned will happen without fail. Chigurh is indicated to be driven by his preconceptions and holds to his principles that are controversial to humanity.

It may be possible to theorize Chigurh as a ghost who would magically disappear. However, throughout the movie's scenes, he is depicted as being a real human. For instance, he killed real people, and the blood trail following his killings was also real. Thus people can argue that him being a ghost from the mention of the bell of the term ghost before going to the Desert Sands motel. According to Bellamy, the ghost argument might be incorrect because Bell used words pretty much of a ghost rather than being a ghost. Also, ghosts cannot perpetrate real crimes. The only nightmare illusion in the scenes is that of Chirgurh's image on the door. Considering that Bell had never seen Chigurh, he just made imaginations of how he looked.

Works Cited

Bellamy, J. Searching for Chigurh (1970, January 01). Retrieved December 05, 2020, from http://coolercinema.blogspot.com/2008/05/searching-for-chigurh.html. No country for old men. USA: Miramax, 2007.