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Very few movies stand out in the world of cinema in a draw that “Fargo” does. This off-the-wall thriller that combines humor with suspense is an absolute masterpiece in my eyes. It’s one of those films that I can discover over and over again without ever worrying about getting tired of it. It is a movie that is crafted and presented to us in a novel and enchanting manner.
The situation revolves around a bizarre kidnapping device. Jerry Lundergaard is pressed for cash, so he resorts to hiring two thugs to kidnap his bear wife so that his father-in-law will pay the ransom. Sounds like one bizarre concept, but one must remember how desperate people can score when it comes to money issues. It’s easy to ogle that disaster lies ahead once the view is dwelling into motion, and a series of events have been unleashed that cannot be undone. What’s supposed to be a simple and straight-forward notion ends up being a horrific mess with unspeakable consequences.
“Fargo” is truly one of those films where you know the majority of the population has seen it. Everybody repeats the lines, reenacts the funny and sometimes over-the-top accent (although, I have been to Minnesota many times, and people do talk like that!), and everybody seems to have their fill approved scene out of the movie. The film is amazingly written and directed by the Coen Brothers, who have made movies like “Miller’s Crossing,” “Barton Fink,” “Raising Arizona,” and “The Man Who Wasn’t There.” It’s a treat to view them hold coming up with current and unusual films that never seem similar to their past movies. The film also includes a phenomenal cast that really makes everything work. William H. Macy is broad in his performance of the husband, as he shows astronomical human qualities along with the devious and unpleasant ones. Francis McDormand is absolutely astounding in her role of “Marge” and steals every single scene that she is in. Let’s not forget to mention Steve Buschemi (the “funny-looking” guy) and unexcited but extremely violent Peter Stormare as the two spineless thugs.
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In this “Special Edition” package, we finally fetch to peruse the film recieve the care and treatment that it deserves. The report and sound quality is more than satisfying–especially the sound, as this is the first time that it’s available in five-channel Dolby Surround. The DVD contains widescreen and fullscreen presentations of the film (I always recommend watching the film in widescreen, as you are seeing exactly what the director wants you to gaze) . Special features include a behind-the-scenes documentary, a Charlie Rose interview with the Coen Brothers and Francis McDormand, audio commentary by the director of photography, trailers and more. The behind-the-scenes feature and the interview with Charlie Rose are really worth checking out, as the jabber of this movie being “based on a legal” myth is finally save to rest. And the reply is–well, I’m not going to whisper you that! That defeats the whole purpose of getting this fully-loaded DVD package. Trust me, no matter what the acknowledge may be, it doesn’t seize anything away from the movie and everything is explained in a very reasonable scheme. This is definitely an impressive package for one heck of an impressive movie.
“Fargo” is a film that will always be around. It has already reached “classic” state in so exiguous time and is critically acclaimed by some of the world’s top movie critics. While the movie may be violent and extremely dusky, do certain to pay discontinuance attention to the extinguish where Marge is talking to “someone” in her squad car, as that really is what the whole theme of the movie is about (and it is a huge scene, I might add) . If you have not given this movie a viewing, be positive to check it out when you can. Is it a wonderful film that can be watched numerous times? You betcha!! -Michael Crane
Of all the Cohen Brother’s tremendously intelligent movies, this is the best. This is the one that they will be remembered for. William H. Macy plays Jerry Lundegaard, a man in a station. He’s a former car salesman that has been securing loans for cars that are not really in his lot. The bank is calling in the loans, threatening proper action, and he needs money speedy. He forms a opinion to have his absorb wife kidnapped, thereby splitting the ransom money between himself and the kidnappers.
It’s a abominable conception, and it snappy unravels into a bloody mess of slay and betrayal. When bodies launch to mount, a local police officer, Marge Gunderson, is called in. Frances McDormand plays Marge Gunderson, and she makes the movie magical.
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McDormand won an Oscar for the role, and this is one instance when the recipient deserved the award. She plays “Margie” with a tremendous dose of humanity. She is a character that sneaks up on you. When she is introduced, you wonder if perhaps she is honest a limited town officer in device over her head. She is pregnant, speaks in cramped town (Minnesota) idioms, and throws up from morning sickness when investigating the first brutal murders. She seems more like a nice, Minnesotan housewife than a cop. But early you secure the feeling that there is something special about her.
The killings involve a traffic cop that was killed while issuing a mark for a missing plate. In his log book, he was written DLR. When Marge’s fellow officer says that he has rush a search for all tags starting with DLR, Marge says gently, “I’m not determined I agree with you 100 percent on your police work there, Irv.” She explains to Irv that DLR means that it was a recent car, a dealer’s car. “Oooh” says Irv, staring into location. Then Marge tells Irv a joke about the guy that couldn’t afford a vanity license plate, so he changed his name to FGS1135. “That’s a superior one,” says Irv, but it is sure Marge’s wit has gone over his head.
The brilliance of the scene is that Marge is never cruel or condescending to Irv, never thinks less of him, and is not making fun of him. She is simply enjoying her absorb intelligence, and we can sight the very private sparkle in her eyes.
Marge also has a core of steel. Glance the scene where she gets information from a menacing suspect by reminding him, with almost motherly grief, about all the inconvenience he has been in with the law, and the fact that he is actually in violation of his parole. She cracks him like an egg without ever loosing her smile.
All actors concerned give sizable performances. Steve Buscemi brings his pitch-perfect base larceny to the table, playing one of the kidnappers; and Peter Stormare (who once played Hamlet in an Igmar Bergman production) utters perhaps 15 words in a homely performance as the other kidnapper. And, of cource, William H. Macey couldn’t have played it Better. His Jerry Lundegaard is so rotund of stress and dismay, you can’t glimpse him without squirming.
I have read where this film has been criticized for making fun of the people of Minnesota, poking fun at their accents and manners. This is not moral. The Coen Brothers grew up in Minneapolis, and this is their homage to their bear people. The folks in Minnesota may talk comical to the reviewers watching movies in Current York and Los Angeles, but this film in no intention makes fun of them. At the raze of the day, Marge and her husband are happily going to sleep in their bed, in fancy with one another and narrate with their shared life. How many other couples portrayed in a Coen Brother’s film can invent this claim?
How anyone can view Marge Gunderson in action and mediate the Coen’s were making fun of her is beyond me. Like Marge, they are simply enjoying their gain intelligence.
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