Fargo (1996) Dir: Joel Coen
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Joel Coen's 1996 crime film is one of my favourite 90-minute(ish) films ever. It couples Coen's typical penchant for striking, yet simple, visuals, with some wonderfully witty pieces of comedy that make the story feel so much more full and enjoyable, without disrupting the flow of the narrative.
The framing of some of the shots in the film is beautiful. I particularly enjoyed the way Coen used the contrast between the white snow and skies with the dark tarmac roads to create interesting visuals from bland scenery. From a cinematic standpoint, Coen maximises the settings at his disposal more often than not.
The story, based on true events, was expertly paced, and kept the action moving smoothly, without it ever feeling rushed. I also appreciated how character driven the narrative was, and how each character was full of personality, purpose and depth. I know it might sound normal enough, but it is frustrating how common it is for a film to be full of absolutely vacuous personas.
Frances McDormand was, of course, utterly wonderful, and brought a huge amount of personality to the film. She had some hilarious delivery of dialogue, particularly thanks to her accent work, which was hugely entertaining. I was also a massive fan of her animated facial expressions, which often told the story of how her character felt, without even needing dialogue.
William H. Macy does grovelling desperation remarkably well for a man with a mustache as magnificent as his is. In all seriousness though, I really enjoyed him in this film. I think he delivered his dialogue both entertainingly and believably, and used his comedic wit to make his scenes humorous, without overstepping the mark.
Equally, Steve Buscemi was a trifle of fun, and his Napoleon complex-riddled persona was truly hilarious, especially when interacting with Macy. The two complemented one another extremely humourously. I also really appreciated the dynamic shared between himself and Peter Stormare.
Stormare was perhaps the most understated performer in the film, although it's worth saying that he played his part very well - there are some scenes in which he is genuinely very scary, which was testament to the quality of his acting. It would be so easy for him to appear bland, but he doesn't at all.
Credit also belongs in the hands of the trio of Harve Presnell, John Carroll Lynch and Kristin Rudrüd for their smaller, but still rather memorable and well-performed supporting roles. I thought that Caroll Lynch was particularly deserving of credit, of the three, for his sweet and slightly silly approach, which was very endearing.
Overall, this has to be considered as one of the best films of the 90s, as well as of the Coen brothers' extensive filmography. It does everything so comprehensively, and provides a combination of high stakes and dry humour that works beautifully. I'm so happy I decided to rewatch this, and I will certainly be making it a more regular activity.
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