A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
Jerry works in his father-in-law's car dealership and has gotten himself in financial problems. He tries various schemes to come up with money needed for a reason that is never really explained. It has to be assumed that his huge embezzlement of money from the dealership is about to be discovered by father-in-law. When all else falls through, plans he set in motion earlier for two men to kidnap his wife for ransom to be paid by her wealthy father (who doesn't seem to have the time of day for son-in-law). From the moment of the kidnapping, things go wrong and what was supposed to be a non-violent affair turns bloody with more blood added by the minute. Jerry is upset at the bloodshed, which turns loose a pregnant sheriff from Brainerd, MN who is tenacious in attempting to solve the three murders in her jurisdiction.Written by
Jean Lundegaard dials 911 from a phone in the upstairs bathroom. A few seconds later, the phone is disconnected. While modern 911 systems could automatically identify the address, that was not the case in 1987. The dispatcher might not have been able to take any further action. See more »
A symbol similar to the Artist Formerly Known as Prince is in the credits as "victim in field", but it is not him, it is J. Todd Anderson, the storyboard artist. See more »
Television edits of the film consistently replace the word "f*cking" with "froozing." Also, in the scene where Carl shoots Wade, the audio is inexplicably edited so that we don't hear Wade say, "Oh, jeez." See more »
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.
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