Still, it’s fair to say that the latter is more difficult to convey on the screen.It is this style, however, that Mc Carthy clings to in , directed by Ridley Scott, we have the first feature film made from a screenplay that Mc Carthy himself wrote.That landscape is still there in this movie: between scenes set in the pristine rooms of the counselor’s world, we cut with a steady inevitability to the hard physical reality of the drug traffickers.In this respect, Mc Carthy and Scott give us the sense that the counselor’s hand has already been dealt: the machinations of that grimmer world would seem to precede his, yet they continue to unspool until the two have become inextricable.
The motorcyclist, we will realize later, is already heading toward what the counselor has set in motion.
As literal as an instruction manual, these passages give shape to the physical world of his novels.
Then there is the grandiloquent style, a fire and brimstone sort of poetry, like this observation from : For this will to deceive that is in things luminous may manifest itself likewise in retrospect and so by sleight of some fixed part of a journey already accomplished may also post men to fraudulent desires.
Much more rides on the depth of this love affair than, say, the trailer park marriage of ’s mouth as the tears roll down the counselor’s cheeks don’t make it so.
The characterization of the film’s femme fatale, Malkina, is a slightly different problem.