Fargo (1996)

“You betcha, yah.”

I admit, somewhat sheepishly, that this is only the second film by the Coen brothers that I've seen. Given the evidence, firstly of O Brother, Where Art Thou and now of this splendid little film, I’m forced to say they are real giants of the Hollywood scene over the course of the last twenty plus years.

This is wonderful from the very first shot, as a brilliant white snowscapes is punctured and illuminated by car headlights. In spite of the North Dakota title (and there’s a state we European tourists are unlikely to visit) the film is very, very Minnesota. I love the accent, with the “yah” and the ineffable Teutonic hints of the otherwise all-American vowels of these characters with mostly very Germanic surnames, with more than a sprinkling of Scandinavia. Presumably those Viking social democratic genes are what led the good burghers of the state not to vote for that moron Reagan in ‘84, like everybody else foolishly did.

William H. Macy is perfectly cast as Jerry, nebbishy car salesman and ultimate cause of all the mischief as his desperation over his immense debts leads him to concoct a kidnapping and ransom plot for his own wife. Also superb is Steve Buscemi,  playing his usual sort of character. But Frances McDormand is a revelation as heavily pregnant cop Marge, interrupting brilliant bouts of seduction with less brilliant bouts of morning sickness. After this film I fully understand why they cast McDormand as the voice of God in Good Omens.

The characters all feel real, it’s beautifully shot, and as a narrative the whole thing is simple awesome. I feel a slow Coen Brothers binge may be on the cards.

O Brother, Where Art Thou (2000)

“I slaughtered this horse last Tuesday. I'm afraid she's startin' to turn."

I've blogged close to 600 films but, to my shame, nothing by the Coen Brothers until now. Yes, I know. And I’m suitably rebuked by how extraordinarily wonderful this film is. It manages to work both as a magnificent piece of art and as splendidly entertaining drama.

So yes, the sepia-tinged cinematography is impressive, and yes, the influence of The Odyssey is obvious- Big Dan is a hostile one-eyed giant, there are literal sirens, there may not be literal transmogrification but Delmarvis convinced that Pete has been turned into a frog, and of course (Ulysses)- who arrogantly refuses help, especially from (the) God(s), is desperate to get back home before a suitor marries his wife.

But the film is really a splendid mix of picaresque encounters and ongoing character development which shows the grim, Depression-era state of Mississippi in all its deeply racist, superstitious and corrupt barbarism. This depressing setting is leavened by lots and lots of wonderful humour, hiding a pessimistic message under its sugar; the evil, Ku Klux Klan cultist politician is the reformer, and his downfall leads to the corrupt incumbent cynically using the Soggy Bottom Boys to continue his cronyism, pardoning then at a stroke but not necessarily improving the lives of his constituents. But that evil secret society is still there and still lynching, prison conditions are abhorrently barbaric, with convicts breaking rocks pointlessly all day while the black ones are called “boy”, and desperate poverty pervades everything.

But against that is music, which makes life worth living, and so we have one of the greatest soundtracks in cinematic history. It is everywhere, giving much-needed colour to everyone’s lives. And so this film, about deeply desperate and suffering lives, which offers little hope, manages to be uplifting in spite of it all. A truly great film.