1996 - 98 minutes - Crime/Drama/Thriller
Directors: Joel Coen, Ethan Coen
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Country: United States
IMDB: 8.2
Metacritic: 85
RT: 94%
EpicEnthusiast's Rating: 10/10
Watch this movie if you enjoy:
(minor spoilers and language below)
The first time I watched the Coen Brother's classic crime thriller Fargo, I saw some quality, but was underwhelmed overall. It had some cool camera shots, but seemed dry and slow. Only after a second viewing did I realize just how brilliant the seven time Oscar nominee is.
The story revolves around a man named Jerry Lundegaard, who because of financial troubles, decides to hire a couple of hit men to kidnap his own wife. The plan is to have his wife's wealthy father pay a large ransom in which Jerry would split with the hit men. There was to be no violence, no blood, or no mishaps. Not so much. All three happen, and a diligent (albeit slow and pregnant) police officer is on the case.
The beauty of Fargo lies within its characters. They aren't hot shot cops or wealthy business men or professional killers. They're all ordinary people. They live in a small town and drive bland sedans. The fact that a man like Jerry Lundegaard, (William H. Macy) who says "heck" and "darn tootin" is willing to have his own wife kidnapped for money is what makes it so effective. Macy is one of a trio of cast members to give the performance of a career, and he plays the tame, innocent Minnesota man toperfection. Everything from his facial expressions to his mannerisms to his quirky comments authenticate Lundegaard, and make it that much more compelling as we watch his hazardous act of desperation.
Steve Buscemi plays Carl Showalter, who is one of the hit men hired by Lundegaard. His character is unique in that he is loud and authoritative while also frail and "funny looking," as he was called multiple times in the film. His partner, (played by Peter Stormare) doesn't seem to take him seriously, but he's the one driving the getaway car, and collecting the cash. On the surface he's a ruthless and heartless villain, but he's humanized by prostitutes and the need for conversation on a long car ride. He's expertly developed, and very well acted from Buscemi.
And finally we have the the police officer investigating it all. Frances McDormand plays the lead role of Marge Gunderson, and amazingly doesn't even appear until more than thirty minutes into the film. Looking at McDormand, you might think she'd be the last actress to play a police officer, but she did an exceptional job. She mastered the easily identifiable Minnesota accent, and even pulled off a fake pregnancy. What makes her character so fascinating though, goes back to the simple showcasing of her everyday life. She has a husband at home who paints. She eats fast food. She visits a friend from her past that has always been enamored with her. (Which by the way, is one of the most awkward and cringing moments I've ever seen on screen.) She's getting ready to have her first child. She lives a standard life, and is simply doing her job. In this case, her job just so happens to entail investigating a brutal homicide, but Gunderson herself is what carries Fargo, and McDormand put together a dynamite performance. Perhaps her husband (Joel Coen) being behind the camera had something to do with it, but either way her Oscar was well deserved.
Also rightfully recognized by the academy, was the Coen brothers' masterful script. When we think of scripts associated with a crime drama, comedy isn't typically associated. An exception that comes to mind is my favorite director Martin Scorsese and his films Goodfellas and Casino. He and Nicholas Pileggi insert some black comedy into those scripts, and mix humor and tragedy. Truthfully though, what the Coens do in Fargo takes it to a different level. Many parts of the film are tragic, and death is certainly prominent, but they're coupled with laugh-out-loud hysterics along the way. From the constant "oh yah's" and "you betcha's" to the philosophical inquires about life. The Coen brothers manage to balance a serious tone with a humorous one, and thats something that rarely works. Memorable quotes go from this:
So, I'm tendin' bar there at Ecklund and Swedlin's last Tuesday, and this little guy's drinkin' and he says, "So where can a guy find some action? I'm goin' crazy out there at the lake." And I says, "What kinda action?" and he says, "Women action, what do I look like?" and I says, "Well, what do I look like? I don't arrange that kinda thing," and he says, "But I'm goin' crazy out there at the lake," and I says, "Well, this ain't that kinda place."
And this:
Would it.. .kill you to say something? "No." That's the first thing you've said in the last four hours. Thats a... that's fountain on conversation, man. That's a geyser. I mean, whoa daddy! Stand back, man. Shit. I'm sitting here driving. Doing all the driving, man. The whole fucking way from Brainard driving. Just trying to...chat, ya know. Keep our spirits up, fight the boredom of the road, and you can't say one fucking thing just in way of conversation. Oh fuck it. I don't have to talk to you either, man. See how you like it. Just total fucking silence. Two can play that game, smart guy. We'll just see how you like it. Total silence.
To my favorite quote of the film, coming minutes after laughing out loud:
So that was Mrs. Lundergaard on the floor in there. And I guess that was your accomplice in the wood chipper. And those three people in Brainard. And for what? For a little bit of money. There's more to life than a little money, ya know. Don'tcha know that? And here ya are, and it's a beautiful day. Well. I just don't understand it.
The screenplay mixes a number of emotions into one brilliant whole. It all meshes and flows in an almost inexplainable fashion. One of the best scripts I've ever come across.
Another Fargo nomination that should have turned into a trophy was the cinematography by the Coens and Roger Deakins. They masterfully used the camera to both set a scene, and tell a story. When the shot called for facial expressions, they glued it to the actors and let them run with it. When the shot called for perspective and surrounding, they gave a unique angle. The outdoor atmosphere in the film was essential to the story, and it didn't take long to be absorbed by the snow. Although it wasn't actually filmed in Fargo, different areas of Minnesota and Canada certainly sufficed. Some standout stills:
Overall, Fargo is an absolute masterpiece. It may be the only film I've ever seen that allows me to say that every single scene is perfect. There is simply nothing wrong with it. It'll make you laugh, wince, smirk, cringe, and maybe even cry. The characters are wonderfully developed, and supremely acted. The script is incredibly natural, and the cinematography is flat-out special. It was robbed of best picture, and should have won the other four oscars it was nominated for too. I've yet to see the 1997 winner The English Patient, but I'd be absolutely shocked if it even compared to Fargo in overall quality. Dare I say, it's the best film the Coen brothers have ever made. The late Roger Ebert concurs:
"Rotates its story through satire, comedy, suspense and violence, until it emerges as one of the best films I've ever seen."
-EE
One last note I'd like make is in regards to the film's minuscule budget. Even for 1996, to make a film of this nature for around $7,000,000 is incredible. More and more today, movies are being produced in front of a green screen, and CGI and special effects take over. I find it both extremely refreshing and very impressive when films are shot in real places, and are made for less than what the actors are being paid. It makes Fargo that much more of a monumental achievement.
Directors: Joel Coen, Ethan Coen
.png)
Country: United StatesIMDB: 8.2
Metacritic: 85
RT: 94%
EpicEnthusiast's Rating: 10/10
Watch this movie if you enjoy:
- crime thrillers
- the Coen brothers
- unique cinematography
- real-life sets/Minnesota
Avoid this move if you dislike:
- blood/violence
- profanity
- Minnesota accents
(minor spoilers and language below)
The first time I watched the Coen Brother's classic crime thriller Fargo, I saw some quality, but was underwhelmed overall. It had some cool camera shots, but seemed dry and slow. Only after a second viewing did I realize just how brilliant the seven time Oscar nominee is.
The story revolves around a man named Jerry Lundegaard, who because of financial troubles, decides to hire a couple of hit men to kidnap his own wife. The plan is to have his wife's wealthy father pay a large ransom in which Jerry would split with the hit men. There was to be no violence, no blood, or no mishaps. Not so much. All three happen, and a diligent (albeit slow and pregnant) police officer is on the case.
 |
| William H. Macy as Jerry Lundegaard |
Steve Buscemi plays Carl Showalter, who is one of the hit men hired by Lundegaard. His character is unique in that he is loud and authoritative while also frail and "funny looking," as he was called multiple times in the film. His partner, (played by Peter Stormare) doesn't seem to take him seriously, but he's the one driving the getaway car, and collecting the cash. On the surface he's a ruthless and heartless villain, but he's humanized by prostitutes and the need for conversation on a long car ride. He's expertly developed, and very well acted from Buscemi.
 |
| Frances McDormand as Marge Gunderson |
Also rightfully recognized by the academy, was the Coen brothers' masterful script. When we think of scripts associated with a crime drama, comedy isn't typically associated. An exception that comes to mind is my favorite director Martin Scorsese and his films Goodfellas and Casino. He and Nicholas Pileggi insert some black comedy into those scripts, and mix humor and tragedy. Truthfully though, what the Coens do in Fargo takes it to a different level. Many parts of the film are tragic, and death is certainly prominent, but they're coupled with laugh-out-loud hysterics along the way. From the constant "oh yah's" and "you betcha's" to the philosophical inquires about life. The Coen brothers manage to balance a serious tone with a humorous one, and thats something that rarely works. Memorable quotes go from this:
So, I'm tendin' bar there at Ecklund and Swedlin's last Tuesday, and this little guy's drinkin' and he says, "So where can a guy find some action? I'm goin' crazy out there at the lake." And I says, "What kinda action?" and he says, "Women action, what do I look like?" and I says, "Well, what do I look like? I don't arrange that kinda thing," and he says, "But I'm goin' crazy out there at the lake," and I says, "Well, this ain't that kinda place."
And this:
 |
| Steve Buscemi in Fargo |
To my favorite quote of the film, coming minutes after laughing out loud:
So that was Mrs. Lundergaard on the floor in there. And I guess that was your accomplice in the wood chipper. And those three people in Brainard. And for what? For a little bit of money. There's more to life than a little money, ya know. Don'tcha know that? And here ya are, and it's a beautiful day. Well. I just don't understand it.
The screenplay mixes a number of emotions into one brilliant whole. It all meshes and flows in an almost inexplainable fashion. One of the best scripts I've ever come across.
Another Fargo nomination that should have turned into a trophy was the cinematography by the Coens and Roger Deakins. They masterfully used the camera to both set a scene, and tell a story. When the shot called for facial expressions, they glued it to the actors and let them run with it. When the shot called for perspective and surrounding, they gave a unique angle. The outdoor atmosphere in the film was essential to the story, and it didn't take long to be absorbed by the snow. Although it wasn't actually filmed in Fargo, different areas of Minnesota and Canada certainly sufficed. Some standout stills:
Overall, Fargo is an absolute masterpiece. It may be the only film I've ever seen that allows me to say that every single scene is perfect. There is simply nothing wrong with it. It'll make you laugh, wince, smirk, cringe, and maybe even cry. The characters are wonderfully developed, and supremely acted. The script is incredibly natural, and the cinematography is flat-out special. It was robbed of best picture, and should have won the other four oscars it was nominated for too. I've yet to see the 1997 winner The English Patient, but I'd be absolutely shocked if it even compared to Fargo in overall quality. Dare I say, it's the best film the Coen brothers have ever made. The late Roger Ebert concurs:
"Rotates its story through satire, comedy, suspense and violence, until it emerges as one of the best films I've ever seen."
-EE
One last note I'd like make is in regards to the film's minuscule budget. Even for 1996, to make a film of this nature for around $7,000,000 is incredible. More and more today, movies are being produced in front of a green screen, and CGI and special effects take over. I find it both extremely refreshing and very impressive when films are shot in real places, and are made for less than what the actors are being paid. It makes Fargo that much more of a monumental achievement.
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