A bonfire of vanities

An evil omen — of that there’s no doubt. After Llewelyn Moss (Josh Brolin), hero of Joel and Ethan Coen’s No Country for Old Men, shoots and wounds a deer while hunting in the West Texas desert, he comes across a trail of fresh blood crossing at right angles the trail of deer blood that he has set out to follow. Looking through his binoculars, he sees a heavy black fighting dog limping away through the sagebrush. The dog glances back, unaware of Moss’s presence and perhaps looking out for a pursuer, and then continues on.

In medieval folklore, a black dog was one of the forms taken by the devil in his wanderings in the world of men; to the English, a spectral black dog was seen as a portent of death, as were the hounds that took part in the ghostly Wild Hunt of Herne the Hunter. In Goethe’s Faust, somewhat amusingly (to modern minds, at least), Mephisto takes the form of a black poodle, while in the 1976 film The Omen, Gregory Peck’s character is attacked by aggressive Rottweilers in the Etruscan cemetary where he has found the body of the jackal (another important member of this canine mythology) that gave birth to his adopted son and future Antichrist. Continue reading