The Coen Brothers have always been an interesting case for me. I admit that there are still a lot of their films that I wish and need to see. Films like True Grit and Fargo I find thoroughly enjoyable or at least passable, but they do not completely resonate with me. However, I certainly respect them as writers, directors, and auteurs, because they know the lineage of film as a medium and they have their own unique way of approaching movies. It’s often clever, unique, and carries a wickedly funny tone no matter their subject matter.
Fargo is arguably their greatest work, following a kidnapping and murder investigation that involves Fargo, North Dakota and Minneapolis. William H. Macy is your standard Midwestern dupe Jerry Lundegaard, who makes an honest living selling cars. However, there’s another area of his life that’s not so honest. He’s in desperate need of money; we don’t know the reason, but he has resolved to hire two men to kidnap his wife. It doesn’t make much sense to the audience or the easily agitated crony Carl (Steve Buscemi). However, Jerry has a rich father in law with the necessary funds to bail out his daughter. And so it goes.
Except after the deed is done Carl and his taciturn accomplice Gaear get stopped by a highway patrolman and things are downhill from there. Murder, and blood, and more murder, all on a snowy Minneapolis evening.
The next morning pregnant cop Marge Gunderson (Frances McDormand) leaves her hubby and heads to the scene of the crime where she quickly pieces together the turn of the events. The search is on for the vehicle, and she questions a couple of prostitutes who aren’t much help except pointing out one of the men was “funny looking.”
Meanwhile, everything is falling apart on Jerry’s end with his father in law and he even gets paid a visit by Gunderson. When the drop finally does take place, Carl is livid when he is met by Wade instead of Jerry. He’s not messing around and neither is Jerry. Crime scene number 2 is set up. Carl finds a snowy locale to bury the payoff and heads back to the cabin, but he’s about had it with Gaear and the feelings are mutual.
Meanwhile, after a disturbing meeting with an old high school classmate Mike Yanagita (a rather troubling performance by Steve Park), Marge decides to question Jerry once again, and this time she gets somewhere. The reunion with Mike sets something off in her head. Another tip eventually leads her to Gaear and his friendly neighborhood wood chipper. Being the pro-cop that she is, Marge subdues the culprit and gets an ABP out on Jerry which leads to his arrest. After a successful day at the office, it’s back to fast food and tv in bed with her loving husband Norm.
Fargo, to its credit, exudes a Midwestern charm thanks to all its colloquial “You betchas, darn tootin’s, heyas”, and so on. Perhaps most effectively it mixes the mundane and the violently shockingly in one pot of inspiration. The two-pronged story following two very different worlds somehow meets in the middle amidst all the improbability. The Coens start the film off labeling it as “based on a true story” and that opening statement had many people tricked. I myself was taken in the first time I saw it because however outrageous the following events are we trust the words of the filmmakers guiding us. And in the characters of Marge, Jerry, and most everyone else there is a charm or normalcy that feels so familiar. Thus, the Coens could get away with such outrageous plotting, because it so often felt grounded in truth.