FARGO
A film review by Zak Forsman
Copyright 1996 Zak Forsman
The Coen Brothers' latest film, FARGO is a combination of their earlier works--specifically BLOOD SIMPLE and RAISING ARIZONA. I think what I'm trying to say is that FARGO is at one moment hilarious and then sharply horrifying. I've always had mixed feelings over violence on the movie screen. When watching TAXI DRIVER I'd be thinking that it just wouldn't be the same film without reaching that 'catharsis-through-urban-violence' finale. On the other hand, I went to see ERASER and felt that the violence there was indeed gratuitous. I had always felt that I was holding a double standard until I realized that what makes violence gratuitous is the integrity, or lack thereof, of the film exhibiting it. And in the case of FARGO, I found myself disgusted and horrified at what I was seeing as opposed to ERASER where aligators ripped arms from their sockets and the effect on me was minimal.
FARGO, which claims to be based on actual events, is the story of a car salesman (William H. Macy) who manifests a scheme to get nearly one-million dollars in ransom money for the kidnapping of his own wife. Her extremely wealthy, grumbling and growling father will be forced to pay. The film unfolds as nearly everything goes terribly wrong--sometimes funny, often frightening. We follow a pregnant police detective (Frances McDormond) as she uncovers the case. I won't go any further in case you haven't seen FARGO other than to tell you that I was skeptical as to how involved her character could be considering her physical condition. Let me tell you her character is well-engaged by the story and her involvment in the climax/resolution is truly memorable.
The film's screenplay was written with extreme care for detail and narrative verve, all too often absent from contemporary works. There are times, and this is a good example, when it is obvious that this screenplay had reached a final draft before principle photography was started. The dialogue alone is so new and devoid of cliche that the audience is (and this is rare) anticipating the characters' interaction instead of predicting it. Even in so called 'talking heads' scenes, we are mentally engaged by the film and certainly involved. Joel and Ethan Coen have consistantly shown a talent for dialogue, storytelling and the ability to integrate both into the film's visual elements. They are also one of the few filmmakers with a signature--when you see a Coen Brothers film, you know it.
Not one actor in the film would be considered by a studio executive to headline a movie on their own. This is a cast of all those people you saw in supporting roles in other films. William Macy (Oleanna, Homicide, ER) performs flawlessly. He shapes his character so anxiously weak that we both condemn his for his acts of cowardace and pity him for his lack of social courage. Frances McDormond (Blood Simple, Raising Arizona) as the pregnant police woman on the case has herself one of the most original characters ever written. She is indeed quirky, and although quirkiness does not neccessarily equal originality, McDormond grounds the character in truly human qualities. Then there is Steve Buscemi (Reservoir Dogs, Living in Oblivion) who's been doing similiar characters since his supporting role in Martin Scorsese's short film, LIFE LESSONS, from the film NEW YORK STORIES. Although his character in FARGO is not much different, this time he does not come off as though he's playing for the camera with the exception of a very funny, "total silence" monologue. Buscemi seems to be making a career out of playing himself and this is another of several films in which it works. Also, by the end of FARGO, his character is so viciously frustrated that it mirrors the hilarious/horrifying tone of the entire film.
The director, Joel Coen (Raising Arizona, Barton Fink) seems to have matured a little--using his trademark wide angle lens with more reverance. He saves his more visual shots for sequences in which they won't smother the actors' performances and the story. If he sticks with it, I think he's found a perfect balance. His best scene, I would say, is the triple homicide sequence at night--part of which he borrowed from his own BLOOD SIMPLE. I guess practice makes perfect.
Many people have been turned off by their own uncertainty as to whether to laugh or cringe during this film. I know this was quite intentional and would expect that the Coens take it as a compliment to their work to have affected those people in such a manner. Anyway, FARGO is the best film that's come out all year and I don't see anything coming in the future to change that. It will certainly be nominated for Best Original Screenplay if not Best Picture. I highly recommend you see FARGO.
Writing: **** Directing: **** Acting: ****
Ratings are based on the four-star system.
-- Zak Forsman, filmmaker Swan Pictures Independent Send comments, praise, and insults to swan@nauticom.net Or visit the The Zak Forsman Page http://www.nauticom.net/www/swan/
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