My Coen Brothers Top Ten — Vol 2.
Only pipped to the number 1 slot in my favourite all time Coen Brothers film by the width of a super slim cigarette paper by The Big Lebowski, I adore this 98 minute masterpiece. Should you be reading this particular article I’m guessing you love this film too, but in movie poker stakes I see your love and raise you unbridled obsessive adoration.
The review reproduced in full below was originally penned nearly a decade ago and I hope it still does this wonderful film a modicum of justice. Since writing this circa late 2013 early 2014, I have no doubt watched this beautifully anarchic template for a Coen Brothers film another half a dozen times in addition to the umpteen times before that. Being the snobbish contrarian that I am, I steadfastly refused to watch the original spin-off TV series but relented when I realised I’d be in the safe hands of Billy Bob Thornton and whilst there are now three follow up seasons, Billy Bob and Season 1 match the original masterpiece of a film perfectly.
Re-released as it resides within the hour long read that is my opus blog article on the entire cinematic career of the Coen Brothers linked at the bottom of this paragraph, the review sits snugly inside 32 years and 16 other films from my favourite film directors of all time, and considering that means they top a list including Quentin Tarantino, Christopher Nolan, Tim Burton, Wes Anderson, Paul Thomas Anderson and Michael Mann, that’s a mighty fine compliment in my particular cinematic book.
I’m off to find that buried briefcase full of cash.
I hope you enjoy.
The world according to the Coen Brothers
“Blood Simple” in 1984 through to “Hail, Caesar!” in 2016. And 15 beautifully crafted films in between. Spoiler free.medium.com
“Oh he’s a little guy. Kinda funny lookin’”.
The film’s opening slide sets the premise for this all time classic Coen Brothers film and spawned numerous conspiracy theories and tall tales along the way as on release in 1996 there were continual reports of people going to specific locations in search of a buried suitcase full of money!
From the “This is a true story…” disclaimer the film follows a three Act structure with the first Act brilliantly portraying a desperate man deeply in debt, approaching two travelling criminals to kidnap his wife, a kidnap that turns into a horrific and graphic triple murder, and the beginning to one of the greatest films of all time. Set in Fargo and Brainerd, North Dakota, this 98 minute film has everything and relies on a common Coen Brothers theme of a simple plan going wrong. Very, very wrong. Deeply and darkly comedic, the majority of the main characters from a surprisingly small overall cast of just 38 actors are immediately introduced in the first Act:
“Jerry Lundegaard” (William H Macy) Deeply in debt, bumbling and bungling, with a permanent fixed fake smile across his face, Jerry is brilliantly brought to the screen by William H Macy, with Macy again showing what a versatile, excellent and comedic actor he is. He brings the character to life expertly and his descent into darkness is near perfection. Forever on the fringes of life, this permeates through his family, work and every facet of his life as he continues to try and cover up the grisly and unwanted murder of his wife. A performance that will resonate with more of us than will admit to it and a performance befitting of his Oscar nomination for Best Supporting Actor.
“Carl Showalter” (Steve Buscemi) My personal roll call of favourite actors continues with the brilliant Steve Buscemi. A constant throughout the film as he brings Carl’s manic, desperate and incessantly talking character to life in a sublime performance. Yet another Coen Brothers character who is seemingly in control of both himself and his destiny yet underneath the cracks are already evident and his life spinning out of control. Part of the two man kidnap team with partner Gaear Grimsrud, their scenes together set the tone for this bizarre and surreal film. Carl, outgoing and assured, incessantly talks throughout their time together, aptly demonstrated in the first Act bar room scenes and their long car journey together.
“Gaear Grimsrud” (Peter Stormare) Despite his Partner’s powerhouse performance, it’s Stormare who dominates the screen with a near silent and brooding psychopathic intensity. Cigarette constantly dangling from his mouth with very minimal dialogue but a stunning performance of a detached, devil may care attitude which is hilarious and scarily angry in equal measure. A storming performance, and the pun wasn’t intended.
Completing the first Act alone are excellent supporting and cameo performances that complete the Lundegaard family and their extended family, plus two key additions. Kristin Rudrud is excellent as “Jean Lundegaard” the hapless wife of Jerry, with Tony Denman playing a deadpan role as their son “Scotty Lundegaard”. Jean’s Father and Jerry’s employer is “Wade Gustafson” (Harve Presnell) assisted, often comically so by “Stan Grossman” (Larry Brandenburg). “Shep Proudfoot” (Steven Reevis) is also a key player throughout in a subtle cameo.
As the first Act draws to a conclusion amid multiple graphic murders and subtle unexplained plot strands, the film introduces us to two further main characters, Fargo itself and it’s strange, quirky and often undistinguishable language, and a performance from Frances McDormand that was rightly acclaimed with an Oscar for Best Actress:
“Marge Gunderson” (Frances McDormand) Introduced at the beginning of Act Two as a heavily pregnant local Police Detective slowly and meticulously investigating the crime scene(s) amid the bleak and snowbound backdrop. In only two short acts McDormand’s performance is sublime and nuanced and perfectly encapsulates everything that makes this film an ultimate classic for the ages. It’s a gentle, knowing performance of touches and nods, a detachment from the situation as she builds a picture for the audience of the killers and their methods which matches what we saw in Act One.
I have dissected my favourite scene from the entire film which will hopefully surprise even the Coen Brothers purists who may read this but it encapsulates everything again that McDormand puts into her role and mirrors the film brilliantly. Before that, due credit to John Carroll Lynch as her superbly understated Husband “Norm Gunderson”. Their scenes together are always awkwardly amusing with minimal dialogue and always shot either in bed or eating, but their love for each other is genuinely touching and heart warming and the real heartbeat of the film.
The short scene I have dissected below is just two minutes long with an old school friend who crumbles before her eyes after making an ill judged pass at her. It’s both a hilariously awkward scene and brilliantly written with sublime portrayals from Frances McDormand and Steve Park:
Marge arrives for her meeting with long lost friend “Mike Yanagita” (Steve Park) elegantly dressed for the first time in the film. Throughout the film she has been constantly seen in her Police uniform. Mike greets her rather too fondly (the camera zooms in on his real pleasure and not wanting to end their embrace) and Marge announces “I’m pregnant!” An awkward and stunted conversation ensues about the criminal case, husband Norm and their joint school days. It’s clear immediately that Mike is overly keen and so pleased to see Marge and he leaves his seat to sit next to her.
“I was married. I was married to Linda Cooksey. You mind if I sit over here?”
Mike sits next to Marge who’s face is blank and awkwardly stern
“No, why not sit back over there. I prefer that”.
Marge’s response is replaced by several false smiles as she tries to re-engage Mike in conversation however he’s crestfallen and slowly slips into a deeper and darker conversation before admitting his wife had recently died after a long illness. Breaking down in front of a bemused Marge unable to take in the immediacy of this turn in the conversation.
Mike: “Then I saw you on the TV and I remembered you know, I always liked you”
Marge: “Well I always liked you Mike”
Mike: “I always liked you so much”
Mike: “I been so lonely”
Drinking heavily and quickly on her Diet Coke, Marge’s face is a picture of bemusement and abject terror as she wonders how she has found herself in this position with an old friend now breaking down in front of her. The scene is a simple one with only two cameras at two wonderfully different and wonderfully surreal performances.
Fargo itself and the local fractured, strangely understated and to the point language, are other distinct characters. The language and dialect is distinctly Nordic with all characters constantly nodding and “Ya” instead of “yes” “heck d’ya mean” and “You Betcha!” plus many many more. The language may be grating to some and is often criticised as disengaging and confusing but taken as a whole it compliments the madness of the film. The wide shots depicting Fargo and Brainerd are perfectly shown in full daylight at the opening of Act 2, showing a bleak and remote landscape as far as the eye can see, bitterly cold and desolate. This remote setting and the iconic single track road shares many similarities with the Coen Brothers first film Blood Simple. Both are added characters in their own right and both of which were nominated for Oscars with The Coen Brothers securing their first of four wins for their wonderful screenplay and soon to be regular Director of Photography Roger Deakins was also nominated and unfortunate not to win for his excellent cinematography.
Whenever I’m reminded of Fargo, and whilst writing this short article, I’ve smiled constantly at a triumph of a film. What better compliment is there? Regular music collaborator Carter Burwell provides another understated musical score, the gem of which is the opening theme based on a Norwegian folk song entitled “The Lost Sheep”, a slowly building masterpiece of a track. It is spliced throughout the film alongside many other fine choices. A film that contains so many of my favourite all time acting talent in surreal roles of absolute brilliance contained within a film that never ages, always raises a smile and is simply astounding.
I’m off for a date with Marge Gunderson and then I’m taking a snow shovel and looking for that briefcase full of cash.
Thanks for reading. Just for larks as always, and always a human reaction rather than spoilers galore. My three most recently published film and television articles are linked below or there’s well over 100 blog articles (with 300+ individual film reviews) within my archives from which to choose:
“Kill Bill: Volume 1” (2003)
“This woman deserves her revenge. And we, deserve to die”medium.com
“Michael Clayton” (2007)
Tony Gilroy’s debut masterpiece.medium.com
“Children of Men” (2006)
Alfonso Cuaron’s dystopian future, today.medium.com