Fargo. Secuestro voluntario

The Coen brothers' 'Fargo' is nearly a great film: a beautifully shot, blackly comic thriller that quietly subverts every convention of the genre. This is a film where the remote mid-western city of Minneapolis plays the same role as New York in a normal crime story, a hub of civilisation and vice; where the hero is a woman (and a heavily pregnant, happily married woman at that); and the chief villain a car salesman of absolutely no slickness whatsoever. In a final irony, most of the action doesn't even take place in Fargo, but in the even more obscure town of Brainerd. Yet I found it hard to love this film. At brief moments (in depicting the relationship of policewoman Marge, played superbly by Frances McDormaid, and her husband), it feels astonishingly tender, yet at others, it feels as if it is simply making fun of the strange folks from outer America with the wacky accents and absurdly stoical demeanour. And the combination of deadpan acting and frankly silly plot excess sometimes works and sometimes doesn't. Above all else, perhaps, 'Fargo' lacks a beating heart: while nearly moving, and nearly funny, there's a part of this film that refuses to commit itself, that prefers to hold back and mock not just its subjects, but also the idea that a film should take itself seriously. The Coens are widely celebrated as among the best film-makers of our age, but watching their films, I usually end up wondering whether irony is not a slightly over-rated virtue. Fargo looks lovely, and weird, and has a wry outlook all of it's own; but it won't make you laugh out loud, or cry. If it wasn't called a masterpiece I might almost like it.

"What'd this guy look like anyway?" "Oh, he was a little guy, kinda funny lookin'." "Uh-huh. In what way?" "Just a general way." In that interplay between a Brainerd, MN., police officer and a witness discussing a criminal investigation, you have one of your principal pieces of dialogue from what is considered by many to be Joel and Ethan Coen's finest film. Of course you can draw comparisons to others they've made, such as Blood Simple, Raising Arizona, even Barton Fink and The Big Lebowski. But Fargo illustrates the Coen Brothers' takes on plot, art and drama more succinctly and emotionally than any of those others. Here you have a set of memorable, if not always likable, characters in a plot that goes from clunky to chaotic in the most unspoiled manner, from Jerry Lundegaard's stilted conversation with Gaear and Carl in a bar in Fargo at the beginning of the movie - the only occasion in which the movie specifically shows you Fargo, N.D. - to Marge Gunderson's confrontation with Gaear and the wood-chipper. Frances McDormand deservedly won an Oscar for playing a well-balanced, intelligent, pregnant police officer placing her own straightforward methodology on to an investigation of bizarre goings-on. And William H. Macy gives a true one-two punch playing a frenetically-charged, fearful and, in the end, inept used car salesman trying in the most remarkable manner to make money. The two best scenes in the movie are the two occasions in which Marge questions Jerry about the Brainerd murders and a car from his lot being involved -- I couldn't imagine an actress doing a better job of seriously but comically exclaiming, "He's fleeing the interview!" Notable among the actors as well are Steve Buscemi and Peter Stormare playing Carl and Gaear, the two hit men hired by Jerry to help him con his father-in-law out of money. There's comic brilliance watching Stormare silently grimace at Buscemi's violent but gregarious behavior, and Buscemi shines being able to play the most out-of-control of all the characters in the movie. Kristin Rudrüd also stands out playing Jean Lundegaard, Jerry's haplessly kidnapped wife. If you can appreciate an intelligent look at not-always-so-intelligent life on this planet, you'll enjoy the little more than the hour and a half this movie has to show you.

I didn't see this in the theater but saw it the first week it was out for rental, and have enjoyed it ever since. In fact, I probably enjoy this more each time I view it. It's a sick movie, though, make no mistake about that. However, it holds a strange fascination, probably because of the odd characters.

About the story: first, it is NOT a true story as indicated in the movie. That's a lie. It's a fictional kidnapping-turned into murder story with a few bloody scenes, lots of profanity (most of it by Steve Buscemi) and a comedy. Yup, this is pure "black comedy." It's dark humor mixed in with a parody about the way the Scandanavian people in the upper Midwest supposedly speak.

Both William H. Macy and Frances McDormand have some wonderful facial expressions along with their accents. Those two and Buscemi are the lead characters and all three "are a trip." Macy is hilarious; the best character in here, in my opinion. The more I watch this film, the funnier he gets. It's also the best role, I assume, ever for McDormand who was never a star before - or since - this movie. Her character in here, "Marge Gunderson," elevates this movie from just another modern-day sick crime movie, to an original. It's nice to see a wonderful husband-wife relationship, too, as is shown here with her and husband "Norm" (John Lynch).

You have this clean, old-fashioned lady cop (McDormand), a middle-of-the-road bungling car salesman (Macy) and two extreme low-life killers in "Carl Showalter" (Buscemi) and "Gaear Grimsrud" (Peter Stormare) all combining to make this story a mixture not only of people but genres. Other minor characters are strange, too, led by one of Marge's old high school acquaintances "Mike Yanagita" (Steve Park). Add to that some equally-bizarre music (slow violins) and you have this unusual story that brings out the morbid fascination in us viewers.

So, I guess what I am saying is this movie truly is an original, the best film the Coen Brothers have ever made and maybe the rest roles ever for the three main actors, McDormand, Macy and Buscemi.

Some may argue that this film is too violent. Some may say that this film is offensive to those who live in Minnesota or North Dakota due to the exaggerated accents. Nevertheless, this film is superb in that it has just the right amount of mix between comedy, horror, and police procedural antics. I recommend it because it does flow well, and you get to appreciate the talents and commitment the actors put into this film. Rewatching this in 2023, I have come to appreciate why this has become a cult classic that has spawned its own TV series dating back to 2014, with a season 5 just dropped, paying homage to the movie with neat Easter eggs. If you enjoy the TV series, you'll do yourself a favor with a rewatch of this one.

Jerry Lundegaard is sick of working for his father in law, sick of his wife, and decides it's time to get rid of his challenging relatives, he employs hitmen, but things don't go according to plan.

Fargo is one of those films that didn't finish with time, arguably it gets better with subsequent viewings. Yes it's a thriller, but it's way too comical to be a straight up action thriller, the humour is prevelant throughout, it's a black comedy, and for my money, it's one of the best of them, some of the situations are outrageous.

It's almost a little surreal at times, let's be clear, this is not based on any real life events, what it is however is thoroughly entertaining. It will make you want to watch the TV series.

I will never tire of hearing the word 'Marge,' and if you're watching for the first time, you'll hear it a lot, you'll also hear some curious accents.

Very well acted, William H. Macy and Steve Buscemi nailed it for me.

I'd have gone crazy at that lake too!

8/10.