Fargo
(1996)
Directed, produced and written by brothers Joel and Ethan
Coen, “Fargo” is often referred to as a popular comedic thriller or black
comedy. At the start of the movie the following message is presented:
"This is a true story. The
events depicted in this film took place in Minnesota in 1987. At the request of
the survivors, the names have been changed. Out of respect for the dead, the
rest has been told exactly as it occurred." However, this is a false claim that many critics at
the time it premiered did not care to investigate. The Coen brother’s stylistic
decision was the right choice. Everyone knows there’s an eerie feeling about
watching a movie based on a true story. Despite this, or perhaps because I was
not aware of this lie during the film, it had no effect on my perception.
It was the “true story” premise along with interesting cinematography
that seduces the movie goer into this thrilling tale. We’re introduced to Jerry
Lundegaard (William H. Macy), a nervous Minnesota man that’s found himself in a
tight situation from attempting to illegally accumulate money. Referred by a
common friend, Carl Showalter (Steve Buscemi) and Gaear Grimsrud (Peter Stormare)
agree to kidnap Lundegaard’s wife. A series of homicides ensues in the path of
the two humorously idiotic criminals. At the same time, Lundegaard is sweating
it out and trying to keep the police away from this growing crime spree. Marge
Gunderson (Frances McDormand), is a highly skilled detective in this little
town and her seven month pregnancy is not slowing her down. McDormand’s
character is instantly lovable with her charming typical Minnesota accent,
adorable personality and her relationship with her supportive husband Norm
(John Caroll Lynch). McDormand’s determination and intelligence leads her to
solve the case.
Macy’s played his character truly-stuttering, sweating
and becoming easily defensive, he clearly had little experience and had not
come up with a plan. His characters nervousness translates to the audience and
keeps us on the edge of our seat. It’s exciting because on one hand, we love
Marge and want her to succeed and stop the villians that never seem to stop
murdering people. On the other hand, we’ve known Lundegaard since the start of
the film and his role as protagonist from the start leaves me feeling attached
to his character as well.
The film features a lot of all white scenes, a snowy
Minnesota day and provides a feeling of being in the middle of absolutely nowhere.
The all white scenes make it feel suffocating and all the more creepy. However,
these scenes are juxtaposed with familiarities to connect us with the
characters. For example, when Lundegaard’s son wants to go to McDonald’s, when
the criminals are watching the Tonight Show or when the camera focuses in on
Lundegaard drawing swirls on a notepad as a nervous tendency. These are things
all people would recognize and feel comfortable with. The television served as
an interesting bridge between the story lines. Lundegaard’s wife was watching
television when she was kidnapped, the criminals are watching television
everywhere they stop and Marge and her husband watch television at night. Even
going as far as to have Showalter’s TV fade and become Marge’s TV to clearly
express this symbolism. The Scandinavian-Minnesota accents featured in all the
characters are adorable and even humourous at times. Using phrases like “you
betcha” or “darn tootin’” seem out of place in this ring of murders and lies. The
Coen brothers being from Minnesota themselves probably had a good time
directing this satire. The recurring Norwegian folk song throughout the movie
gives this mysterious aura. Almost as if to say: look what could happen even in
a sweet little town like Brainerd, Minnesota.
Overall,
the film was captivating yet devastating, summed up nicely by one of Marge’s
last lines: “Those three people in Brainerd…and for what? For a little bit of
money. There’s more to life than a little money ya know. Doncha know that?”
By Haley Dougherty
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