Roger Ebert Called the Coen Brothers’ Fargo a 10/10 Masterpiece

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While the recent TV series based on *Fargo* has been well-received, it doesn’t quite capture the same genuine feel as the original 1996 film. *Fargo* boasts a strong cast, but Frances McDormand’s performance is particularly memorable, even alongside those of Steve Buscemi and William H. Macy. The plot, which centers on a Minnesota police chief investigating a triple homicide, seems straightforward at first, but the movie cleverly uses the story to offer sharp observations about people and society.

Fargo quickly became a critical and commercial hit, earning seven Academy Award nominations and two Oscars for Frances McDormand and the Coen brothers. Its impact was so significant that it was recognized by the American Film Institute as one of the greatest movies ever made and later added to the United States National Film Registry for its lasting influence on film and culture. Roger Ebert even ranked it as the fourth-best film of the 1990s – a decade known for incredible movies – placing it above Schindler’s List. For all these reasons, Fargo continues to be considered a timeless classic.

Fargo Is a Perfect Balance of Horror, Humor, and Humanity

The Coen brothers began their film career with *Blood Simple* in 1984, and their work steadily improved with movies like *Miller’s Crossing* and *Barton Fink*. But it was *Fargo* that truly established them as masterful artists. That film uniquely blended quirky humor with dark and unsettling moments, portraying both the mundane and the beautiful sides of everyday life in surprisingly tragic and surreal ways.

The movie’s mood changes quickly and dramatically, like a powerful storm, but it never feels confusing. It’s a fast-paced blend of scary and funny moments that reflects the complexity of being human. At its heart, *Fargo* shows us that everyone handles stress in their own way.

The villains in the film are complex. While Jerry Lundegard is awful for involving his wife in a kidnapping scheme, the audience also feels sorry for him because of his difficult relationship with his father-in-law. The kidnappers, Carl and Gaear, are equally terrible, but in different ways – Carl’s greed leads to his violent death at the hands of Gaear. What’s striking is how clumsy and foolish they all are, more like hapless idiots than criminal masterminds. However, any amusement quickly fades when you remember that six people still died as a result of their actions. Beyond this dark humor, the film also showcases Frances McDormand’s Oscar-winning performance, which earned her the Best Actress award.

Though characters like William H. Macy and Peter Stormare represent different forms of evil, Marge Gunderson’s inherent goodness provides a crucial balance. Seven months pregnant and still working as a police officer, Marge is a source of hope and light, even amidst the stark, snowy landscape of Minnesota. Her strong moral compass immediately connects the audience to her journey, revealing her as someone who is realistically optimistic rather than naive or cynical. Marge embodies honesty and kindness in a world filled with deceit, greed, and violence. She reminds us that true understanding comes from simplicity, and her desire to do her job well and welcome her child is a remarkably powerful force.

Near the end of the film, Marge calmly recounts Gaear’s crimes while he sits in her patrol car, listing them backward and pointing out he committed them all for money. She pauses deliberately, giving both the audience and Gaear time to process what she’s saying, and then observes that happiness isn’t about wealth – “there’s more to life than a little money.” She seems genuinely surprised that anyone could prioritize material possessions, which leads her to wistfully remark, “it’s such a beautiful day.” The scene immediately cuts to show the police car stuck in a blizzard, a stark contrast to the sunny day she mentioned.

People understand Marge’s gift for seeing the good in every situation, always finding a positive side even when things are tough. And her inability to grasp what Carl and Gaear are about actually shows just how genuinely kind and honest she is.

Fargo Reads Like a Wryly Devastating Midwestern Poem

The American Midwest isn’t just a setting in ; it’s a character in itself. From snowy fields to rundown bars, the movie truly captures the spirit of Minnesota. Though some outdoor scenes were filmed in North Dakota and Wisconsin, the cinematography by Roger Deakins powerfully portrays the harsh beauty of a Minnesota winter, where endless white covers everything yet life continues. The film highlights the shared culture of the Midwestern states. While the Minneapolis–Saint Paul area is central to the story, the blend of Midwestern landscapes and culture gives the film a sweeping yet unified feel.

One of the most memorable parts of *Fargo* is the distinct way the characters speak, achieved through dedicated dialect training. As dialect coach Liz Himelstein put it, the accent was practically another character itself. Phrases like Marge’s “you betcha” and Jerry’s “you’re darn tootin’,” along with words like “jeez” and “yah,” create a remarkably authentic feel. Marge embodies the well-known “Minnesota nice” stereotype – the idea that people from Minnesota are exceptionally friendly and polite. However, most other Minnesotan characters in the film don’t fit this stereotype, which makes Marge’s kindness even more striking.

The film feels real because of the everyday details – the uncomfortable small talk, the distinctive way people speak, and the generally uneventful scenes. When Jerry’s scheme falls apart, he reacts with surprising calmness and a sense of powerlessness. Marge deals with her anger by expressing grief and confusion over Gaear’s horrifying acts, such as casually feeding Carl’s body into a wood chipper. Even these shocking moments only bring her sadness, as if she’s simply letting the horror wash over her.

The film *Fargo* contrasts sharply with the traditionally humble and generous values of the Midwest, highlighting money as its central motivator. Characters like Jerry struggle to provide for their wives, Wade ruthlessly uses and then discards his son-in-law for financial gain, and Carl and Gaear simply seek wealth without effort. The film embodies the idea that money is the source of all evil, demonstrating how the pursuit of wealth leads to senseless violence and the tragic deaths of innocent bystanders.

You know, what really struck me about this movie is how it shows money isn’t everything. They thought a ransom would save someone, but it actually led to more tragedy – six lives lost instead of one. And in the end, all that money, a whole million dollars, just stayed buried in the snow after the guy died. It’s a really powerful statement about what truly matters.

Fargo’s TV Series Failed to Capture the Movie’s Core Essence

Noah Hawley’s *Fargo* series is a remarkably well-made show, boasting excellent writing and performances. It successfully captures the setting and unsettling normalcy of the original *Fargo*, but often feels like it’s missing the same unique energy. The Coen brothers’ film was a beautifully crafted work of art, while the TV series, though brilliant in its own right, feels more like a very well-done retelling than a truly original piece. It’s easy to see why the film *Fargo* remains a beloved cinematic experience.

As a movie buff, I always felt the original *Fargo* wasn’t about figuring out some big, complicated mystery or making a statement about life. It was a surprisingly simple story, but one that really *felt* something. People loved the TV series – all the awards and praise prove that – and it definitely got more complex, digging into all sorts of philosophical ideas. Honestly, it felt like overthinking things. The movie, though? It was all about just letting the story wash over you and experiencing that world. It’s easy to lose sight of that original, emotional core when you get caught up in the details, but that’s what made *Fargo* special to me.

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2025-10-19 01:53