FARGO (1996)
Review by Simon Doherty
The best work to date of Joel and Ethan Coen, this fantastic film refuses to be categorised. At times it is a black comedy, then a crime drama, then a quiet character study. It was nominated for nine Oscars, but picked up only two after coming up against The English Patient. Another case of what I wittily call the Chinatown Syndrome (it missed out because of Godfather II).
The film, amazingly based on a true story, revolves around car salesman Jerry Lundegaard (William H. Macy). In financial trouble, he hires petty criminals Carl Showalter (Steve Buscemi) and Gaear Grimsrud (Peter Stormare) to kidnap his wife, in an attempt to extract a ransom from his rich but skinflint father-in-law. Frances McDormand is the pregnant cop who investigates when the plan goes wrong and blood is spilt.
The Coens always create memorable characters, and this is no exception. McDormand, in her Oscar winning role, gives her character genuine warmth when in lesser hands she would have merely been irritatingly perky and nice. Macy is also brilliant as a nervous man who is out of his depth. The way he tries to keep up a confident patter when inside he is panicking is reminiscent of Jack Lemmon's stunning performance in Glengarry Glen Ross. Buscemi excels as always, and Stormare is convincing as a man who barely seems conscious most of the time, only coming to life in moments of sudden violence, when he becomes decisive and sure. The transformation in his treatment of his cigarette, from drooping out of his mouth to a determined flick out the car window when chasing another car, is a superb example of an actor using a prop to reinforce their character.
The other Oscar the film won went to the screenplay. The story is told efficiently, fitting in a surprising number of subplots in only 98 minutes. The Coens do not bother with back story; we are dropped into the lives of these people and pick up what is going on from their actions and conversations. There is also some darkly funny dialogue, such as a lecture Buscemi gives to a car park attendant, and a conversation between Jerry and his father in law. (‘This deal could work out real well for me and Jean and Scotty.' ‘Jean and Scotty never have to worry.') The film reminded me of Pulp Fiction at times, with people talking about ordinary things in a way that makes it as engrossing as any special effects sequence.
Fargo makes a refreshing change from huge budget blockbusters, where characters and conversations are just devices to move the plot forwards. What I find depressing is the number of people I know who liked True Lies but found Fargo boring; the pleasures of this film are not shoved in your face, but run much deeper for those willing to discover them.
9/10
simon.doherty@btinternet.com
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