The Coen brothers are known for their dark humor and bleak view of the world, but in recent years they have become increasingly obsessed with the mystery of goodness.  In the desolation of a North Dakota winter, vicious killers stalk the land, and there suddenly is Marge Gunderson, a paragon of decency and courage.  Why?  Why is there a Marge Gunderson?

This is essentially a religious question, in the sense that it has no logical, rational answer.  The temptation of theology is to supply logical, rational answers to religious questions, but it's the unanswerable questions that move the heart and change lives.  That's why the Bible is long on stories and short on theology, why Jesus taught with parables instead of intellectual arguments.

The Coen brothers' film No Country For Old Men is almost a reprise of Fargo — without the comedy this time, and with a much darker and more terrifying view of the evil stalking the borderlands.  The figure of the good sheriff, played by Tommy Lee Jones, who seems to stand alone against the horror, is even more mysterious than Marge was.

He seems to possess some supernatural power over the Bardem character's pure wickedness — his very presence seems to be able to make the Bardem charcter vanish into thin air — but it's a power that even the Jones character doesn't understand.  There is a suggestion that his decency and courage are outdated virtues, on the verge of being overwhelmed by the world's evil.  And yet they linger . . .

In A Serious Man, the Coens take on the Book Of Job, the Bible's great story of a man who clings to righteousness in the face of an implacably destructive universe.  It makes no sense — it is, yet again, a mystery to be puzzled over.

In Charles Portis's novel True Grit, the Coens found a text ideally suited to their late-period themes.  A self-righteous and vengeful little girl meets up with a violent and none-too-virtuous law officer, and somehow they find a way to love each other.  Their mission of harsh justice is infected with grace, a grace neither of them really understands, except on a level beneath conscious thought.  They part ways after their adventure, but the little girl lives the whole rest of her life in the glow of one great act of love on the part of the least likely of men . . . a kind of redemption for both of them by the unexplainable appearance of goodness.

The Coens use the hymn “Leaning On the Everlasting Arms” as a musical motif throughout the film, and Iris Dement's recording of it comes at the film's end, summing it all up in a way.  The phrase “everlasting arms” is from the Old Testament, and is used in the hymn as an image of Christian salvation, but the use of the song here is not theological in any sense.  Mattie Ross's conscious religion is cold, judgmental and unforgiving — Rooster Cogburn's religion is non-existent.  There is no theology in what saves them, because what saves them is irrational.  The everlasting arms are just there, without explanation — the way Marge Gunderson is just there.

A key to all this can be found in the figure of Rabbi Marshak in A Serious Man.  He is the ancient and remote fount of all wisdom, but unavailable to the film's Job figure, who can't get an appointment to see him.  But his son is granted an interview after his bar mitzvah.  The old sage sighs and then, improbably and hilariously, quotes a line from a Jefferson Airplane song — “When the truth is found to be lies . . .”  And just when you expect wise council on this subject, the rabbi breaks off, trying to remember the names of the members of the Airplane.

It's well known that Sergio Leone stole the plot of Fistful Of Dollars from Kurosawa's Yojimbo, transposed it to the Old West and gave birth to the Spaghetti Western.  Leone's film was a big hit worldwide, and in a legal settlement over the plagiarism, Kurosawa was awarded the revenues from the film in most Asian markets.  Yojimbo had a been a big hit itself, mostly in Japan, but the profits to Kurosawa from Fistful Of Dollars exceeded those of the original by a considerable degree.  Kurosawa always regarded this as a stroke of great good fortune.

Leone fans like to point out how much he added to what he took from Kurosawa, but in fact it was very little.  Everything that's most startlingly “original” about Fistful Of Dollars was already present in the film it was based on.  The quirky visual style, mixing views of deep spaces with extreme and iconic widescreen close-ups, the jangly score, with odd instrumentation and occasional bombastic flourishes, the whole sardonic attitude towards genre, were invented by Kurosawa.  Calling Leone's style “operatic”, and thus linking it to specifically Italian sources, ignores the fact that Yojimbo is just as “operatic” in just the same ways.

Kurosawa's film was extremely radical for its time.  He was trying to re-imagine the samurai film, invest it with a modernistic attitude, while at the same time delivering the reliable pleasures of action set-pieces, but action set-pieces that were even bolder and more dazzling than those usually found in the genre.

As part of his strategy, Kurosawa emphasized the link between samurai films and American Westerns, which he loved and had studied carefully.  The story unfolds almost entirely on a traditional Western T-set, representing a town with a main street that ends at a cross street.  It's a Japanese town from around 1860, not an American one on the frontier in the same era, but its look and feel are familiar from any number of American Westerns.

The climactic showdown between the chief adversaries in Yojimbo deliberately evokes the traditional showdown in the street between gunslingers in a Western, and Kurosawa even introduces a pistol into the confrontation, to make the association, and the irony, clearer.

The film is basically a comedy, or satire, with interludes of action and dramatic seriousness.  Its mixed tone resembles to a degree that of Rio Bravo, which had come out a few years earlier and done terrific box office.  Yojimbo's comedy, though, is much less genial than the comedy of Hawks's great Western.  It has a dark and savage quality, and its fooling with its genre has a edge of malice, a deconstructive quality, as though it wanted to sweep the traditional samurai film into history.  Hawks's joshing with the Western genre is loving by comparison.

It was the sardonic edge, the dark comedy, the self-conscious and almost sarcastic attitude towards genre, that defined the Spaghetti Western of Sergio Leone, and Leone took all those qualities directly from Kurosawa's film.