Fargo (1996): review

A plan that cannot add up

Jerry Lundegaard believes he can solve his financial troubles by arranging his wife’s kidnapping. Two hired criminals are supposed to help extract ransom money from his own family. Desperation, greed and an inflated faith in his ability to manage the situation turn that calculation into disaster.

The Coen brothers strike an unusually effective balance between a brutal crime story and black comedy. The characters can look ridiculous without making the violence harmless. Everyday politeness and appalling decisions occupy the same world, giving Fargo its distinctive edge.

A persuasive moral centre

William H. Macy makes Jerry a man whose evasions become increasingly inadequate. Steve Buscemi and Peter Stormare give the kidnappers a striking contrast between restless chatter and threatening silence. Their interaction produces humour as well as uncertainty.

Frances McDormand’s Marge Gunderson responds with observation, composure and common sense. Her pregnancy is not used to manufacture incompetence or vulnerability. She remains a capable investigator while the men around her make their lives worse through decisions they struggle to control.

Verdict

Roger Deakins’ snowy landscapes deepen the feeling of isolation. Regional detail and a precise ensemble help the film’s comedy and moral seriousness reinforce each other. Fargo is an exceptionally strong classic about greed, foolishness and the consequences of apparently simple solutions, with performances and images that give its absurdity lasting weight.