Although flattering that Javier Bardem should look at my hair and realize its great potential within the context of the film, and, let's face it, the world at large, there might be more to it than his mere impeccable style and taste. Joking aside, his haircut (and, not to worry, many other visual elements of the film) contributes to the beautifully planned and executed visual landscape of "No Country for Old Men," the 2007 film by the Coen brothers based on the novel of the same name by Cormac McCarthy. In the film, the brothers use a specific type of lighting that has a significant effect on how the characters are seen in the film and how they interact with eachother and their environment - the film is internally lit and all light is natural within the scene (the source of light always makes sense by dedution e.g. a lamp in the room or moonlight). The way the film is lit along with the soundtrack lends itself to the unique style of the film and to the overall experience of the audience.

The first effect that this strategy of lighting has on the film is that it gives it a deep sense of realism. There is no melodrama either in the dialogue or in the way the actors' faces are lit. We see them as they see themselves and as others see them within the context of the scene. The clip given above is an example of this at its very basic. There is only one source of light, the sun, and it is streaming inside the room to give us small glimpses of the character, Moss, as he prepares to leave the motel room where he thinks he is safe from those who are after him. It is not only an example of the simple, but effective lighting techniques that give the film its power, but also an example of the use of shadow that is present throughout the film. Many of the more powerful images are not direct shots of the characters but simply of their shadow. Here, all we see is the darkness of Moss' figure.

This scene also reflects the sense of realism present throughout the film. The sources of light come from the moon and from the headlights on Moss' chasers' headlights. I find it intriguing that those headlights can instill such fear in the audience member (at least in my experience). Bright lights in overwhelming darkness cover up and disguise anything behind those lights. Those men's faces are a mystery - and therefore, so are their intentions.

The film also did quite a few things differently from the book and this scene is a prime example of that. The whole sequence of seeing the feet under the door and then the lights going out in the hall (also a fantastic source of terror) simply does not exist in the book (altough one could argue that the feeling is there and the Coen brothers managed to capture that perfectly. This clip is yet another look at the use of simple light sources and the realism. The use of shadow is important here as well (as we see with the two pillars of light that we can only assume are Chigurh's feet peeking under the door to frighten Moss). It is almost ghostly how Chigurh appears and disappears under the door.

At first, our eyes are drawn to the lower right corner of the scene because there is that strip of light that seems to out of place in the softly lit room and because our eyes are so drawn to it, it seems that the Coen brother WANT us to look there. That little slit represents Moss and Chigurh's closest encounter. It is really the only time that Moss sees Chigurh. Because this is the case, Chigurh's ghostly qualities begin to become more and more obvious to the audience. The idea is expressed in the book, but the Coen brothers have found a way to visually represent that specific aspect of the novel (along with the realism and fast pace).

These two clips are to show both the use of shadows mentioned before but also how the brother utilized this to draw parallels between the two characters. The two scenes almost exactly mirror each other and this cannot be by mere coincidence. Something is being said. There are a couple ways of interpreting it.

The first is that, again, we are meant to think of Chigurh as a ghost - a phantom in the mind of Bell. The things that he experiences are what Bell imagines them to be and whatever Chigurh does is a part of Bell's imagination in combination with reality.

Also it could be a reflection of the couple's similarities in character. Both are idealistic and both seek the truth both in themselves and in other people. This could be in the movie to draw that parallel as clearly as possible. Even if Chigurh is a serial killer, he "has principles" as another character jokes.

The final clip is a beautifully shot sequence in which all that has been discussed comes together in a nice little package, as it were. The use of shadows is very clearly wrought in the person of Bell. The light sources are ever interesting - especially when the street light shines through the hole that Chigurh supposedly made with his cattle killing contraption. Because Bell doesn't see Chigurh once he has entered the room, Chigurh feels like a ghost - especially since the audience doesn't see Chigurh while Bell is in the room either (even if we saw him beforehand). The overall realism also feels present in the scene because of these uses of shadows and light to accentuate character and circumstance.

Beyond the visual, one cannot fail to mention the LACK of a soundtrack that is noticable in all of these clips. This choice by the directors (or whomever) also gives a sense of realism and also a sense of emptiness that is an essential part of the novel. In this way, also, the Coen brothers are successful in translating book to film.