Commentary - Aaron Keith Harris: ‘No Country for Old Men’ offers dark take on universal question

But it does, though set mostly in the bright, dry vistas of West Texas, seem appropriate to the long, cold season ahead.

It’s adapted from the Cormac McCarthy novel by directors Joel and Ethan Coen (“Fargo,” “The Big Lebowski” and “Barton Fink”) who seem able to make a great film in any genre they attempt.

Many critics have compared “No Country” to the brothers’ first film, “Blood Simple,” also a vicious twist of film noir. But it made me think most of “O Brother, Where Art Thou?” simply because the two films are in almost perfect contrast.

The characters in “O Brother” seek redemption and find it. And their quest is given mythical tones with strange music, insightful humor and a palette of stylized color.

“No Country” is a shadowy and chillingly recognizable place where the only music is the scuffling of boots and the thwack of a strange weapon wielded by an inexorable killer.

Played superbly by Javier Bardem, that killer is bent on tracking down a sap (Josh Brolin) unlucky enough to stumble into $2 million cash from a heroin deal gone fatal.

The killer is content to destroy anyone in his way, and some who aren’t, his bottomless black eyes without a flicker of emotion.

Sheriff Ed Tom Bell, played of course by Tommy Lee Jones, pokes around the edge of the widening case, disgusted at what he sees and afraid to look closer.

The sheriff realizes that his Texas, circa 1980, is something bad. And that it’s getting worse because of the moral decay that creates a demand for drugs and the violence that comes from the always futile effort to stop people from buying them.

Clarence Darrow said that lost causes are the only ones worth fighting for. Whether that is true, even against an evil that escapes consequences at every turn, is the question “No Country” asks.

Those who have a satisfactory answer to that no doubt are better able to make sense of real life.

In fiction and in real life, we tend to honor those who live or die for a lost cause, and rightly so.

To fight the passage of time is the most futile of causes, and it’s always heartening to see someone win even a small battle in that war.

That’s why it’s fun to see the three surviving members of Led Zeppelin together again for the first time since 1980.

It’s easy to make fun of old rock stars, partly because many of them seem to be going through the motions in order to get paid. And partly because they sometimes look and sound ridiculous trying to play a game only the young should attempt.

But good rock music isn’t simply about youth. At least not since Bob Dylan plugged in, the Beatles smoked pot and Led Zeppelin thundered onto the scene.

It’s about life. Making sense of it, escaping from it and enriching it with music that’s both personal and universal. Doing that well requires talent, inspiration, craftsmanship and collaboration.

From the illicit online clips of Zep’s reunion, it looks and sounds like the band still has it. Robert Plant’s voice can’t soar as high, but he’s a better singer with age, John Paul Jones is still a musician’s musician, and Jimmy Page still shreds with the best of guitarists.

There are countless more important things in life than popular music played by famous millionaires. But good music, no matter what the sources, can stop the clock and clear the head once in a while, which is as precious as anything I can think of.

Aaron Keith Harris writes about politics, the media, pop culture and music and is a regular contributor to National Review Online and Bluegrass Unlimited. He can be reached at aaronkeithharris@gmail.com.