![]() ![]() ![]() There’s the man who sees himself as righteous and just as he goes on hunting sprees with Viggo, taking out the world’s garbage (as they see it) and protecting the innocent. There are almost two completely different Martins. He’s a product of the post-moral world that Ren has created. Martin increasingly lives a double life throughout the series until he is entirely out of options. The rest of his journey throughout the back half of Too Old to Die Young sees him attempting to embrace his future as Viggo Larsen (John Hawkes) and Diana (Jena Malone)’s protege as his past sins in the murder of Jesus’ mother are fastly coming from the South to haunt him. Last Martin was seen (at the end of Episode 5) he was living out the archetype of The Fool, lying bleeding in the desert. The most clear representation of The Hanged Man in Too Old To Die Young is who was set up to be an unlikely hero in the first half of the series/film: LAPD Homicide Detective turned contract pedophile/serial rapist killer Martin Jones (Miles Teller). There’s even some variations that see the Hanged Man as a God who allowed this to happen to himself in order to gain knowledge about the world. There’s further interpretations that specify the solemn expression worn by The Hanged Man Tarot card is an acknowledgement of self sacrifice. ![]() Most depict a man hanging upside down from a tree by his ankles. The Hanged Man in the Tarot represents the death of traitors. This week, the coverage will move on to the second half of Too Old To Die Young while looking at some of the other main themes as expressed through the more mystical aspect of the Tarot, before taking a final look at the world itself of Too Old to Die Young and what it may possibly all mean after the end credits roll. In my last piece I looked at the first five parts of what Refn calls his new 13 hour film through a lens of episode titles that also serve as reference points for the different archetypes throughout the series. The characters feel more like Jungian archetypical stereotypes than actual human beings and the world is a dark bleak place where vigilantism is the only true justice left. Nicolas Winding Refn’s Too Old to Die Young brings to life hard-core violence in beautiful stylistic fashion. ![]()
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