The most recent draft I wrote was super generic. And I did a pass keeping in mind the 'Be Specific' bit. Definitely made the story at least 1% better. There's so much to learn. Thanks guys. Please keep putting out videos.
In the infamous scene with Mike Yanagita, Marge doesn't let him sit next to her and softens the blow by saying she prefers to face her companion across the table (so she doesn't have to turn her neck). In the buffet scene she and her husband sit on the same side of the table.
@ It’s a vignette that reinforces Marge’s decency as a person and as a copper. It injects powerful pathos into the film. If there were mini-Oscars I’d nominate Steve Park for his Yanagita.
I think another important detail is the subtext the Coen's use. And how their introduction of interesting/compelling side characters utilizes this idea. Mike Yanagita is a great character to elucidate the subtext of Marge coming to the realization that no matter how someone appears on the outside (friendly, courteous, put together), there can always be more to them and their true intentions can be revealed. This is found out when Marge discovers that Yanagita lied about losing his wife. Thus, Marge is able to use this experience and decides to go back to the dealership to question Jerry further.
I always thought Marge was already exceptionally intuitive, and that she wouldn’t have needed that experience to go back and talk to Jerry. But she really seemed surprised when she learned the truth I have changed my mind. Good insight.
@@johnheath4305yea I didn’t catch that and also loved Marge as a character and I would love to meet more cops just like her, but sadly her good heart didn’t catch just how nervous and reserved Jerry was in their first interview in my opinion. Even in the beginning of the second interview I still don’t think she suspected Jerry but simply was trying to get more out of him he might’ve “accidentally” left out in her mind, but as he starts to get “snippy” with her as she said, that’s when she kinda gets a little skeptical but it took too long for her to get to that point
One of my favorite under-the-radar aspects of this tour de force film is the relationship of Marge and Norm. They have few scenes together but when they are interacting, the chemistry between the actors expertly conveys the love Marge and Norm have for each other. Marge was *so* proud of his three cent stamp, and, as a result, so was I.
Hnmmm but isn't it that she soon realises better to settle for 3 cents mundane relationship than pursuing an affair than a society affair that could wreck it all
@@quackquackbeep no. Marge is a simple woman with simple motivations. Her meeting Yanigita was a courtesy - a meeting with an old friend. At no point was there any sign she was unhappy with her own life. Rather she was disappointed in others not valuing their own or the lives of others they’ve hurt.
@@ninakore Good insight. And the Coens reveal that at the end, when Marge is saying that all of this tragedy and heartache was caused by money. I never fully understood her line, "And it's a beautiful day." But now I get it. She values something like a beautiful day or snuggling with Norm or sharing Arby's with him more than anything else.
Yeah, when I saw this in the theater I didn't know anything about the plot, but in the opening titles, when the car towing the burnt umber Ciera comes over the hill with the dramatic swell of the score, it immediately established such a mood of foreboding and impending dramatic tragedy.
The way Jerry wails when the police are arresting him was always so disturbing to me. Like an actual weasel caught by its tail. Like he can’t hide his true form anymore, they’ve caught him, the real him, the weasel
Something of a mirror of his wife's abduction and his comeuppance. Also, the police are professional in use of force while Jerry and his henchmen were subhuman. Marge is also humane in the leg shot vs his murderous shot in the back.
The cinematography in this movie matches the screenwriting. The way bleak Minesota is so beautifully captured, and all the snow shots have these considered arrangements of elements.
As much as I know The Big Lebowski is the Coen Brothers most popular movie, I really belive that Fargo is a undisputed masterpiece. (and that's like my opinion man).
That was a great point about Carl being Jerry’s shadow version. It had to be intentional and yet you are the only person I’ve heard bring it up. You sir, are a genius.
Great analysis!!! My fav movie of all time and I think it's definitely mostly because of how compellingly the characters are written. It's obvious that Carl's motormouth gets him into trouble, but I never considered how brilliantly Jerry's lack of self-advocacy parallels that. Good work.
It's amazing that Margie doesn't appear until about minute 40. In the hands of a lesser writer, this would have been a Lifetime movie of the week where every scene is played cliche and obvious.
Love Fargo. At 2:47, Norm fell asleep with a bag of Old Dutch potato chips. Great regional detail. Native of Upper Midwest, haven’t seen that brand in years.
Cohen brothers is absolutely stellar at making characters feel real. Whether this come from Jerry being captured and acting like a literal baby or in No Country where Ed Toms charter is worried about new evils and how the times are changing
@@ScriptSleuth I mean, it was really Mike who wanted it to be a tryst. I don't think Marge meant it as anything more than a good, friendly lunch with an old school pal. I mean, you remember once Mike started crossing over that line and getting far too familiar with her, she shot him right down and then immediately used a teaspoon of sugar to ease the blow for him.
More videos are available exclusively for Patreon members: Breaking Bad City of God Cries and Whispers Do the Right Thing Forrest Gump It's a Wonderful Life - Part 1 It's a Wonderful Life - Part 2 Memories of Murder The Lives of Others For access to these videos, go to: www.patreon.com/scriptsleuth
What most of you don't know is that Mike Yanakida played by Steve Park also played the korean father in Do the right thing. That alone blew my mind even though both Fargo and Do the right thing are like only 7 years apart !
Easily one of my favourite films of all time. For me it's the contrasts that make it so beautiful: The wanton destruction of and absolute disregard for the most important things - human life and family - and in parallel the value placed in the smallest, mundane and insignificant things in Margie and Norm's relationship, culminating in Norm's mallard picture on the 3c stamp! I also can't think of a funnier, yet more tragic hero figure than Jerry Lundegaard. Just magnificent.
During Marge’s interview with the two prostitutes, the woman on the left was the film’s voice coach and taught the characters how to speak with that area’s “accent”.
I going to post on this old thread hoping someone else has noticed something in almost every Cohen bros films : There are use of visual representation using objects that float through the film with no explanation; the biker in rating Arizona, the hat in millers crossing, the cat dropping objects and body parts onto the ferry on Lady Killers and the “Dapper Dan” can in oh brother where ar’t thou?”… there are more I just can’t think of at
That "Go Bears..." has gotta be ad-libbed, because its small and subtle lines like that, that really lets the audience know that the story has people, not just an npc or background character.
The Coen brothers’ reputation is that they don’t allow ad-libbing. For instance, I saw an interview with Peter Stormare in which he said he tried to “correct” his line “We go to pancakes house,” and Joel told him that it was not a typo, that’s exactly how the line was written, and they expected it to be read that way.
Duck stamp art is a thing in the Midwest. Iowa, of course, discontinued it because there was a cost associated with doing it and they like to give out sweetheart contracts to donors.
great video! one small detail that bugs me, though, is it’s not a “burgundy ‘98” as in 1998, it’s a “burgundy ninety-eight” as in oldsmobile ninety-eight, which is the model of car jerry drives. the movie takes place in 1987, so it can’t be a ‘98 model year.
Great channel, Script Sleuth. Your analysis is really insightful. I think the Coen brothers put a lot of thought and originality into their scripts - and Fargo is a film I really enjoyed - so this was a good choice for study. The idea of making references specific rather than generic is easily overlooked. Not only can the use of overly generic terms ("I'm watching the ice hockey game" vs "I'm watching the Gophers", to borrow your example) make dialogue sound hollow and clunky but it misses the opportunity to add local colour and texture to your film world. In a stageplay script of mine that I had an amateur theatre group reading one time a character who'd fled London to the remote countryside explains "I borrowed some money off the Turks on the Edgeware Road". Now, I don't know for a fact if there are informal money lenders operating in that part of the city nor whether many, or any, of them are Turkish. I just felt that "the Turks" was a more interesting phrase to use than "some people" and by evoking a High Street setting dominated by Turkish cafes and so forth (little seen in any great concentration within the UK outside of London) it would offer up a pleasing contrast between multicultural London and the ethnically-homogenous rural town the character had ended up in. Sadly someone in the cast was concerned it might be deemed racist so the blander option was the one we used. I kind of saw the point and it really wasn't a battle worth fighting, but it's nice to hear someone else voicing the same kind of ideas.
I watched this the other day at the New Bev. One thing that struck me, why do you think the Coens included the plot thread of Jerry trying to do the deal w/ his Father in Law at the same time he's planning the kidnapping? I thought it worked well but when writing a story like this, it wasn't necessarily an obvious choice. Namely because you would think that he wouldn't put the kidnapping in motion until he got a firm "No". I think 99% of the time the screenwriter would wait for that "No" and THEN go through with the kidnapping. It did create a nice situation where he's trying to get ahold of them and can't to cancel it. But what did you think?
I think owing $320,000 would make a man desperate enough to put both wheels in motion. Plus, it creates a nice dilemma for Jerry. The Coens did an excellent job making it even more complicated for him!
Sometimes I think these creative choices are intentionally there to nag at the audience and get them invested, as you said, 'Why is he still trying to do a deal if he's going to have his wife kidnapped anyway?' It could show his desperation, or poor logic depending on how you interpret the events, but the fact it is unanswered could be seen as an intentional misdirect. We could even say that he is creating a kind of alibi for himself. As covered in this video, the conversations between them further develop the characters through their intentions and actions, which is probably its chief purpose (from a writing perspective). Just my two cents.
@@Ruylopez778 I think you're right, it's part desperation, part poor logic, and partly that Jerry is just the type who desperately wants to be a big time wheeler-dealer, but always fails to think things through properly
I read it as he was covering all bases. The kidnap was his back up plan - it was clear to him that the chances of getting money from his father in law legitimately were low.
You did a wonderful job with this video presentation. I enjoyed listening to your narrative, as it was enlightening, it was informative--and, I love the movie "Fargo!" I am so glad, too, that you did not "find the need" to use the word "iconic" within your narrative here. So, thank you! ( This is one of the few RUclips video presentations I have watched that has managed to avoid feeling "that seemingly pressing need" to include this miserable cliche into its narrative writings. ) ~ Lastly, when I worked with students in the classroom, helping them with their various writing projects, I often emphasized the importance of "showing" rather than "telling" in their writings. So it is not just in scriptwriting that this approach can be effectively applied; it is also effective across most writing/literary genres. And the "tone" in a piece of writing is also important to pay attention to. Here we are talking about the writer's (own) personality, his or her "personal style" that gives the writing its life, its character. (12/21/24)
Another important detail in the "Establish the Rules of the Game" chapter. When Jerry first meets Carl and Gaer, he shows up late because he mistook the time of the meeting. So right from the get go, their little scheme goes wrong.
This is a hilarious classic movie. One thing I noticed is that Grimsrud shot a man with a red jacket on his back. Later when Marge saw Grimsrud she also shot him on his back. I don't know if that's an important aspect but it's kind of funny though.
Fargo is a brilliant representation of the mundane. The Coens don't sit in judgment, they just show people in the act of living their lives. Individuals operating in their own universe are not good or bad, they just are. Jerry Lundigard weaves his own web of deceit which is the core of the plot. The writing is so good that you can easily imagine a more complete view of each of the characters lives without having to.
I saw Fargo in a theater when it was new and I've probably seen it at least 5 more times over the years since, but I just noticed something for the first time a few days ago. I never paid attention to the names of the two thugs Jerry hired. At one point Jerry talks to Shep about them, and Shep is very clear that he only knows and vouches for one of them. I always assumed he meant the Steve Buscemi character, because later on Shep is extremely pissed that the cops came sniffing around to question him, and he goes and gives the Buscemi character an ass whooping. It is beyond obvious that Shep and the Buscemi character know each other. The Buscemi character recognizes Shep instantly and even calls him by name. But on my most recent watch, I noticed Shep specifies that he only knows "Grimsrud." That's the Peter Stormare character. So now I'm confused. Shep clearly knows Carl, the Buscemi character. Why did he lie to Jerry about that? There's no way it's just a mistake in the script, this is the Coens here.
Great stuff. One other thing I would add, even though I'm a little late to the discussion.....how they use both the muscial score and the ambiance/surroundings/environment (weather, giant statue, Jose Filipiano) to move the story along. Genius. And one last thing......is there any better screenwritting in the history of filmaking than the discussion with Mr. Mohra? I think not.....
The amazing thing about this movie is that they made the dialogue heavily repetitive ('Oh ya?'), but it never becomes tedious. It is funny on one hand and informative on the other - Steve Buscimis character being recogizably describes as 'kinda funny lookin', in a general kind of way' becomes a description of a suspect over the course of the movie. AFAIK, no one ever pulled that off before.
How did Carl Showalter get involved in the kidnapping plot? Shep Proudfoot says “don’t know him, don’t vouch for him.” Did Grimsrud decide to bring him on and not tell Shep?
It's strange because Shep knows who Carl is despite telling Jerry he doesn't. When Shep beats Carl in the hotel room, they both say things that indicate they've met before and know each other.
@@tony_dogs, makes me wonder why Shep didn't kick Grimsrud's @$$ instead, since he's the one who invited Carl along. Did Grimsrud intend to kill Carl all along in order to keep the entire $40K?
Shep and Carl definitely knew each other from before, I'd have to think that since Shep was on parole he probably wasn't allowed to associate with a known felon and wanted to keep it under wraps that he knew Carl!
I mean the Coen Brothers don't make mistakes, so this is not a mistake. Maybe it's designed to make sure we're paying attention. It has always bothered me.
In my top 20 films of all time. The 10-minute intro is one of the best ever and no one will ever forget William Macy as Jerry Lundegaard. I absolutely love this one from the Coen Bros. Also, no one will ever convince me The English Patient deserved the Oscar over Fargo that year.
I've found that this movie is similar to the novel _The Great Gatsby_ in that they're both relatively short, always forward moving, and neither have an ounce of flabbiness.
There is alot of emphasis on the color "red" to me in this movie, which is the color of the devil. Red is also the color of blood, and this movie also emphasizes that red is a bad color. Just watch the film again and you'll know what I mean.
It's one of those movies where I'll watch one scene and then have to go watch the entire film. On a side note, Paul Thomas Anderson has that same feeling whenever he sees a bit of The Birdcage.
I've seen Fargo countess times, but the 'faxed serial numbers' bit, while very funny, never seemed to connect to the story - except vaguely to the one car- the burnt umber Sierra. Why all the other cars?
I think they're just setting up the fact that Jerry was committing fraud by receiving financing for cars that didn't exist. That, to me, is the original reason why he was so desperate to get money from his father-in-law, and ultimately decided to "kidnap" his own wife.
Theres a scene in No Country that was omitted from the film. Moss picks up a hitch hiker and the dialogue between them is beyond good, should have made it into the film. The dog chasing Moss was added by the Coens though
Youre so right about the "show not tell" and "respect the audience". Movies nowadays are one looooooong storytelling scene of just people talking about what happened before and what they plan to do next. No creativity.
I grew up not far from where these brothers grew up. It was a part of Minneapolis that was pretty solid middle class and very Jewish. To my ear, the Minnesota accents in the movie are exaggerated but entertaining, even to me. I watch scenes from this movie regularly just to watch something so well done.
The storytelling from the Coen brothers in an amazing tale with very well layered characters: The ineptitude of both kidnappers, and the brains of the operation. How Wade should have suspected worse from his weasel son in law. And Mike Yanagita is so creepy!
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
The most recent draft I wrote was super generic. And I did a pass keeping in mind the 'Be Specific' bit. Definitely made the story at least 1% better. There's so much to learn. Thanks guys. Please keep putting out videos.
Thanks for watching, Sridhar! I'm glad you got something useful out of it.
At least 1%? Lol.
In the infamous scene with Mike Yanagita, Marge doesn't let him sit next to her and softens the blow by saying she prefers to face her companion across the table (so she doesn't have to turn her neck). In the buffet scene she and her husband sit on the same side of the table.
I did NOT notice this.
stupid boring scene, gee
The Yanagita scene is one my favourite cinematic moments in one of my favourite films.
@ why is that? i think it doesn’t do anything good to the movie
@ It’s a vignette that reinforces Marge’s decency as a person and as a copper. It injects powerful pathos into the film. If there were mini-Oscars I’d nominate Steve Park for his Yanagita.
I think another important detail is the subtext the Coen's use. And how their introduction of interesting/compelling side characters utilizes this idea. Mike Yanagita is a great character to elucidate the subtext of Marge coming to the realization that no matter how someone appears on the outside (friendly, courteous, put together), there can always be more to them and their true intentions can be revealed. This is found out when Marge discovers that Yanagita lied about losing his wife. Thus, Marge is able to use this experience and decides to go back to the dealership to question Jerry further.
Good catch. You're right: the Coens don't let any secondary characters go to waste.
It's possible this is the first non-domestic or accidental homicide she's ever worked.
I always thought Marge was already exceptionally intuitive, and that she wouldn’t have needed that experience to go back and talk to Jerry. But she really seemed surprised when she learned the truth I have changed my mind. Good insight.
@@johnheath4305yea I didn’t catch that and also loved Marge as a character and I would love to meet more cops just like her, but sadly her good heart didn’t catch just how nervous and reserved Jerry was in their first interview in my opinion. Even in the beginning of the second interview I still don’t think she suspected Jerry but simply was trying to get more out of him he might’ve “accidentally” left out in her mind, but as he starts to get “snippy” with her as she said, that’s when she kinda gets a little skeptical but it took too long for her to get to that point
@@ScriptSleuthin a Cohen film, there are no secondary characters 😂
One of my favorite under-the-radar aspects of this tour de force film is the relationship of Marge and Norm. They have few scenes together but when they are interacting, the chemistry between the actors expertly conveys the love Marge and Norm have for each other. Marge was *so* proud of his three cent stamp, and, as a result, so was I.
Yes! We learn a lot just from their simple interactions.
Hnmmm but isn't it that she soon realises better to settle for 3 cents mundane relationship than pursuing an affair than a society affair that could wreck it all
@@quackquackbeep no. Marge is a simple woman with simple motivations. Her meeting Yanigita was a courtesy - a meeting with an old friend. At no point was there any sign she was unhappy with her own life. Rather she was disappointed in others not valuing their own or the lives of others they’ve hurt.
@@ninakore Good insight. And the Coens reveal that at the end, when Marge is saying that all of this tragedy and heartache was caused by money. I never fully understood her line, "And it's a beautiful day." But now I get it. She values something like a beautiful day or snuggling with Norm or sharing Arby's with him more than anything else.
Norm and Margie are one of my favourite movie couples ever.
Coen brothers' use of frequent silent pauses during dialog is totally brilliant.
So I called it in…
End of story.
Reminds me of Pinter in theatre. The pauses say more than the words.
What did Duke Ellington say? You have play the stops.
Soundtrack in this movie is another character itself. Masterpiece.
Agreed!
Yeah, when I saw this in the theater I didn't know anything about the plot, but in the opening titles, when the car towing the burnt umber Ciera comes over the hill with the dramatic swell of the score, it immediately established such a mood of foreboding and impending dramatic tragedy.
There are only a few movies I’d considered perfect, that you wouldn’t want to change a thing, this is one of them.
No kidding. I've watched a zillion times, love every minute. Writing is perfect, the actors were phenomenal.
And " No Country For Old Men".
@RRP714 Thats two for Coen Brothers. 2001 Space Odyssey is another. Doctor Zhivago is also perfect.
The way Jerry wails when the police are arresting him was always so disturbing to me. Like an actual weasel caught by its tail. Like he can’t hide his true form anymore, they’ve caught him, the real him, the weasel
Something of a mirror of his wife's abduction and his comeuppance. Also, the police are professional in use of force while Jerry and his henchmen were subhuman. Marge is also humane in the leg shot vs his murderous shot in the back.
My friend says the exact thing about thst scene. 😅
So true
that's the wail of a broken man
I like the comparison of Jerry and Carl.
I didn't notice it that clearly.
It's a great lesson in character orchestration. Also, the difference between Carl and Gaer Grimsrud.
@@ScriptSleuth Was just about to comment that. Great observation!
The cinematography in this movie matches the screenwriting. The way bleak Minesota is so beautifully captured, and all the snow shots have these considered arrangements of elements.
"be spesific and not generic and your story will come to life"...well formulated!
That's probably why the Coen Brothers are so good 🤔
@@ScriptSleuth Very much so!
Oh. I thought it was "be generic, not specific."
Guess I'll never make it is a screenwriter.
*specific
As much as I know The Big Lebowski is the Coen Brothers most popular movie, I really belive that Fargo is a undisputed masterpiece. (and that's like my opinion man).
Agreed 100%
Agree!
@@ScriptSleuth will you ever do an episode on the Big Lebowski?
Easily.
I mean both films are great but, to me, _The Big Lebowski_ is an all-time Top 50 film, while _Fargo_ is an all-time Top 20.
That was a great point about Carl being Jerry’s shadow version. It had to be intentional and yet you are the only person I’ve heard bring it up. You sir, are a genius.
Oh, I don't know about that. It just becomes apparent when you go over every scene numerous times. Thanks though! 🙂
That's true. I never consciously thought about it that way but it is so freaking true and thank you so much for pointing it out.
Great analysis!!! My fav movie of all time and I think it's definitely mostly because of how compellingly the characters are written. It's obvious that Carl's motormouth gets him into trouble, but I never considered how brilliantly Jerry's lack of self-advocacy parallels that. Good work.
Thanks for watching, Sammi!
"Fargo: is a brilliant movie and deserves all the acclaim (Oscars, etc.) it has received!
Nice video, man! Keep going and you'll grow quickly.
Thanks! You're doing a great job yourself.
It's amazing that Margie doesn't appear until about minute 40. In the hands of a lesser writer, this would have been a Lifetime movie of the week where every scene is played cliche and obvious.
It's a great point. It reminds me of Psycho, where the protagonist changes from Marion Crane to Norman Bates around the middle of the movie.
Love Fargo. At 2:47, Norm fell asleep with a bag of Old Dutch potato chips. Great regional detail. Native of Upper Midwest, haven’t seen that brand in years.
Exactly! It's details like that that make the story feel more real.
Good insight. I always loved Fargo, and never realized the amount of detail in the script. The dialogue seemed so real and authentic.
I thought the same thing. And then you analyze every scene in detail and realize just how much they put into it!
It obviously helped too that the Coens are originally from Minnesota, so the dialogue choices were deliberate since they knew these people.
Fargo is definitely in my top 5 favorite movies of all time.
One of the greatest flicks ever made. Just brilliant.
Great Analyses, sir.
I myself think Miller's Crossing is just as great. Underrated.
Great dialogue in Miller’s Crossing, e.g. “I’m gonna send you to a dark place and I’m gonna enjoy doing it!”
The quote is a bit off. It should be: “I’m gonna send you to a deep, dark place and I’m gonna have fun doing it!”
Excuse me, Marge was not having a “tryst” with Mike Yanagita
6:05 I never ever noticed that. Brilliant touch.
Cohen brothers is absolutely stellar at making characters feel real. Whether this come from Jerry being captured and acting like a literal baby or in No Country where Ed Toms charter is worried about new evils and how the times are changing
The tension between the father-in-law and son is what drives a lot of the suspense in this movie.
Marge didn't have a tryst with Mike. It was a lunch, not a rendezvous.
I'm only going by the subtext of Marge's actions 😃
Agreed--it undermines Norm and Marge's clearly devoted relationship to call it a tryst. She's just getting together with a school pal.
It was in between a rendezvous and lunch…. But mostly lunch.
@@ScriptSleuth I mean, it was really Mike who wanted it to be a tryst. I don't think Marge meant it as anything more than a good, friendly lunch with an old school pal. I mean, you remember once Mike started crossing over that line and getting far too familiar with her, she shot him right down and then immediately used a teaspoon of sugar to ease the blow for him.
@@FloraWest And it’s all about the food with Marge….
God, I miss great films such as this. With the way things are run now in Hollywood, we’ll never see such greatness ever again.
Agree. I am sick to death of the CG crap that passes for good movies these days.
This film is genius 👏
More videos are available exclusively for Patreon members:
Breaking Bad
City of God
Cries and Whispers
Do the Right Thing
Forrest Gump
It's a Wonderful Life - Part 1
It's a Wonderful Life - Part 2
Memories of Murder
The Lives of Others
For access to these videos, go to:
www.patreon.com/scriptsleuth
What most of you don't know is that Mike Yanakida played by Steve Park also played the korean father in Do the right thing. That alone blew my mind even though both Fargo and Do the right thing are like only 7 years apart !
He also played Mr Park in A Serious Man
TWENTEE CEE BATTERIES
@@TomEyeTheSFMguy Yep, noticed that too. Clearly aged in there.
@@JackBirdbathMarch-uh…
This excellent film is in my top five alongside Brief Encounter, Fitzcarraldo, Captain Phillips and Castaway.
Can't wait for your glow-up, my guy! These breakdowns are so useful! :D
Thanks, Vicki! I'm glad they're useful to you.
Easily one of my favourite films of all time. For me it's the contrasts that make it so beautiful: The wanton destruction of and absolute disregard for the most important things - human life and family - and in parallel the value placed in the smallest, mundane and insignificant things in Margie and Norm's relationship, culminating in Norm's mallard picture on the 3c stamp!
I also can't think of a funnier, yet more tragic hero figure than Jerry Lundegaard. Just magnificent.
Such a hilarious film. I love how accurately the dialogue and accents are to the real locations, fucking great.
During Marge’s interview with the two prostitutes, the woman on the left was the film’s voice coach and taught the characters how to speak with that area’s “accent”.
I going to post on this old thread hoping someone else has noticed something in almost every Cohen bros films :
There are use of visual representation using objects that float through the film with no explanation; the biker in rating Arizona, the hat in millers crossing, the cat dropping objects and body parts onto the ferry on Lady Killers and the “Dapper Dan” can in oh brother where ar’t thou?”… there are more I just can’t think of at
this is brilliant.i found this channel recently but learnt lot from you and ur channel.thank you for also ur english caption for understand better
That "Go Bears..." has gotta be ad-libbed, because its small and subtle lines like that, that really lets the audience know that the story has people, not just an npc or background character.
Definitely!
But the coen brothers will tell you that they write every word of dialogue
The Coen brothers’ reputation is that they don’t allow ad-libbing. For instance, I saw an interview with Peter Stormare in which he said he tried to “correct” his line “We go to pancakes house,” and Joel told him that it was not a typo, that’s exactly how the line was written, and they expected it to be read that way.
...and I got three more words for you while we're talking about details...door-ajar chimes. Brilliant.
Duck stamp art is a thing in the Midwest. Iowa, of course, discontinued it because there was a cost associated with doing it and they like to give out sweetheart contracts to donors.
Really enjoyed this! Lots to think about next time I write!
Hope it helps!
great video! one small detail that bugs me, though, is it’s not a “burgundy ‘98” as in 1998, it’s a “burgundy ninety-eight” as in oldsmobile ninety-eight, which is the model of car jerry drives. the movie takes place in 1987, so it can’t be a ‘98 model year.
Oh, great catch! Thanks for the clarification. 😀
It's also Burnt Umber Sierra not Ciera.
@@shrimpflea The car model was a Cutlass Ciera.
Wow. Incredible insight. Thank you for this high quality analysis! subscribed.
Thank YOU for watching and subscribing!
Stanley Kubrick and the Coen Brothers are my favorite movie creators. I can see their movies over and over.
Did you get the reference when Carl is talking to the hooker.. He says hes here fore the old in out, in out (clockwork orange)
Great channel, Script Sleuth. Your analysis is really insightful.
I think the Coen brothers put a lot of thought and originality into their scripts - and Fargo is a film I really enjoyed - so this was a good choice for study. The idea of making references specific rather than generic is easily overlooked. Not only can the use of overly generic terms ("I'm watching the ice hockey game" vs "I'm watching the Gophers", to borrow your example) make dialogue sound hollow and clunky but it misses the opportunity to add local colour and texture to your film world.
In a stageplay script of mine that I had an amateur theatre group reading one time a character who'd fled London to the remote countryside explains "I borrowed some money off the Turks on the Edgeware Road". Now, I don't know for a fact if there are informal money lenders operating in that part of the city nor whether many, or any, of them are Turkish. I just felt that "the Turks" was a more interesting phrase to use than "some people" and by evoking a High Street setting dominated by Turkish cafes and so forth (little seen in any great concentration within the UK outside of London) it would offer up a pleasing contrast between multicultural London and the ethnically-homogenous rural town the character had ended up in. Sadly someone in the cast was concerned it might be deemed racist so the blander option was the one we used. I kind of saw the point and it really wasn't a battle worth fighting, but it's nice to hear someone else voicing the same kind of ideas.
Great story!
I watched this the other day at the New Bev. One thing that struck me, why do you think the Coens included the plot thread of Jerry trying to do the deal w/ his Father in Law at the same time he's planning the kidnapping? I thought it worked well but when writing a story like this, it wasn't necessarily an obvious choice. Namely because you would think that he wouldn't put the kidnapping in motion until he got a firm "No". I think 99% of the time the screenwriter would wait for that "No" and THEN go through with the kidnapping. It did create a nice situation where he's trying to get ahold of them and can't to cancel it. But what did you think?
I think owing $320,000 would make a man desperate enough to put both wheels in motion. Plus, it creates a nice dilemma for Jerry. The Coens did an excellent job making it even more complicated for him!
Sometimes I think these creative choices are intentionally there to nag at the audience and get them invested, as you said, 'Why is he still trying to do a deal if he's going to have his wife kidnapped anyway?'
It could show his desperation, or poor logic depending on how you interpret the events, but the fact it is unanswered could be seen as an intentional misdirect. We could even say that he is creating a kind of alibi for himself.
As covered in this video, the conversations between them further develop the characters through their intentions and actions, which is probably its chief purpose (from a writing perspective). Just my two cents.
@@Ruylopez778 I think you're right, it's part desperation, part poor logic, and partly that Jerry is just the type who desperately wants to be a big time wheeler-dealer, but always fails to think things through properly
I read it as he was covering all bases. The kidnap was his back up plan - it was clear to him that the chances of getting money from his father in law legitimately were low.
You did a wonderful job with this video presentation. I enjoyed listening to your narrative, as it was enlightening, it was informative--and, I love the movie "Fargo!" I am so glad, too, that you did not "find the need" to use the word "iconic" within your narrative here. So, thank you! ( This is one of the few RUclips video presentations I have watched that has managed to avoid feeling "that seemingly pressing need" to include this miserable cliche into its narrative writings. ) ~ Lastly, when I worked with students in the classroom, helping them with their various writing projects, I often emphasized the importance of "showing" rather than "telling" in their writings. So it is not just in scriptwriting that this approach can be effectively applied; it is also effective across most writing/literary genres. And the "tone" in a piece of writing is also important to pay attention to. Here we are talking about the writer's (own) personality, his or her "personal style" that gives the writing its life, its character. (12/21/24)
Thank you for the great comment! I'm really glad you enjoyed it.
nailed it. all my relations. i just about had a heart attack standing under that blue bull, when i wasn't even TWO yet I remember.
Best cast ever
Another important detail in the "Establish the Rules of the Game" chapter. When Jerry first meets Carl and Gaer, he shows up late because he mistook the time of the meeting. So right from the get go, their little scheme goes wrong.
@@BrianRubinow Another genius moment of the Coen brothers. They immediately start the scene with conflict!
Foreshadowing.
This is a hilarious classic movie. One thing I noticed is that Grimsrud shot a man with a red jacket on his back. Later when Marge saw Grimsrud she also shot him on his back. I don't know if that's an important aspect but it's kind of funny though.
A good example of mirroring!
In the back of his leg.
Wow you do so well on all of these!
One of my favorite movies…… well done wouldn’t change a thing
Fargo is a brilliant representation of the mundane. The Coens don't sit in judgment, they just show people in the act of living their lives. Individuals operating in their own universe are not good or bad, they just are. Jerry Lundigard weaves his own web of deceit which is the core of the plot. The writing is so good that you can easily imagine a more complete view of each of the characters lives without having to.
With Cormac McCarthy no gone, it would be interesting to know you thoughts on "The Road"[
"a little of the old in and out"
surely a reference to clockwork orange
One of the best movies I’ve ever seen
Definitely one of the greatest movies made in the last century.
That was a wonderful video. It scratches my film loving itch.
Thanks for watching!
I saw Fargo in a theater when it was new and I've probably seen it at least 5 more times over the years since, but I just noticed something for the first time a few days ago. I never paid attention to the names of the two thugs Jerry hired. At one point Jerry talks to Shep about them, and Shep is very clear that he only knows and vouches for one of them. I always assumed he meant the Steve Buscemi character, because later on Shep is extremely pissed that the cops came sniffing around to question him, and he goes and gives the Buscemi character an ass whooping. It is beyond obvious that Shep and the Buscemi character know each other. The Buscemi character recognizes Shep instantly and even calls him by name. But on my most recent watch, I noticed Shep specifies that he only knows "Grimsrud." That's the Peter Stormare character. So now I'm confused. Shep clearly knows Carl, the Buscemi character. Why did he lie to Jerry about that? There's no way it's just a mistake in the script, this is the Coens here.
@@Druffmaul Good catch! 🤔
Fan Theory Time:
He met both of them in the can, but he only liked one. He knew this Buscemi character was a weasel.
Yes it's bothered me as long as I've watched the movie.
Great stuff. One other thing I would add, even though I'm a little late to the discussion.....how they use both the muscial score and the ambiance/surroundings/environment (weather, giant statue, Jose Filipiano) to move the story along. Genius. And one last thing......is there any better screenwritting in the history of filmaking than the discussion with Mr. Mohra? I think not.....
Yep, you got that right! Ooh, any hows, how have you been, eh? Did you see the game last night? Quite a nail-biter, eh?
So I called it in...
(Brazilian for Google translate)
great video, I never realized this topic about the details
Cool. Thanks for watching!
Also really enjoyed the TV-Netflix series of Fargo.. also brilliant plot twists and acting.. Billy Bob Thornton was brilliant..
To this day my business partners and I still say “This is my deal here, Wade!” 😂
@@koriko88 Standard finder's fee is 10% 😅
Whenever we have a group meeting and someone gets up to use the toilet, one of the guys yells " He`s fleeing the interview"
well done analysis
Thank you!
The amazing thing about this movie is that they made the dialogue heavily repetitive ('Oh ya?'), but it never becomes tedious. It is funny on one hand and informative on the other - Steve Buscimis character being recogizably describes as 'kinda funny lookin', in a general kind of way' becomes a description of a suspect over the course of the movie. AFAIK, no one ever pulled that off before.
6:54 fun fact: the original script said “blue Sierra” but William Macy really wanted to say “burnt umber Sierra”, so they eventually just let him
Very cool! It really does add a little more to the story.
Ciera
How did Carl Showalter get involved in the kidnapping plot? Shep Proudfoot says “don’t know him, don’t vouch for him.” Did Grimsrud decide to bring him on and not tell Shep?
Yeah, that's a little vague. But we quickly forget about it because we're so engrossed in the story. 🙂
It's strange because Shep knows who Carl is despite telling Jerry he doesn't. When Shep beats Carl in the hotel room, they both say things that indicate they've met before and know each other.
@@tony_dogs, makes me wonder why Shep didn't kick Grimsrud's @$$ instead, since he's the one who invited Carl along. Did Grimsrud intend to kill Carl all along in order to keep the entire $40K?
Shep and Carl definitely knew each other from before, I'd have to think that since Shep was on parole he probably wasn't allowed to associate with a known felon and wanted to keep it under wraps that he knew Carl!
I mean the Coen Brothers don't make mistakes, so this is not a mistake. Maybe it's designed to make sure we're paying attention. It has always bothered me.
When Carlos cuts off Muldaur's hair and then burns it while singing "Poppy Don't Love You Again", I almost died inside
Superb video!
Thanks for watching!
What other films would you like to see me cover? Let me know in a comment below!
Goodfellas, E.T.
@@brandonschinzel Both are definitely on the master list!
Terminator, T 2 , District 9, hot fuzz👍
In my top 20 films of all time. The 10-minute intro is one of the best ever and no one will ever forget William Macy as Jerry Lundegaard. I absolutely love this one from the Coen Bros. Also, no one will ever convince me The English Patient deserved the Oscar over Fargo that year.
@@escdelesp Top 20 easily... 😎
Hey thanks! Really enjoyed your video.
@@cynthiaweaver100 Thanks for watching!
Another great video !!
I've found that this movie is similar to the novel _The Great Gatsby_ in that they're both relatively short, always forward moving, and neither have an ounce of flabbiness.
I love the way Norm is always eating 😂
There is alot of emphasis on the color "red" to me in this movie, which is the color of the devil. Red is also the color of blood, and this movie also emphasizes that red is a bad color. Just watch the film again and you'll know what I mean.
Interesting. Now I'll have to watch it again!
@@ScriptSleuth I mean it's just a weird theory. But the show also did the same thing too so...
"Jaws" did this really effectively as well.
Red is a very complex symbol. It's connected with fire, action, will and passion, among many other things.
Great analysis! 🖖
Cheers!
Great video :)
Thanks, Sindri!
The movie to remember for ever!
Some handy info here, thanks 👏👏👏👏
Used to see this at the video store. Then, I decided to rent it, one great movie.
It's one of those movies where I'll watch one scene and then have to go watch the entire film. On a side note, Paul Thomas Anderson has that same feeling whenever he sees a bit of The Birdcage.
Thanks for the screen writing tips PLAY THE MOVIE!
Great video!
Thanks, Mauro!
I've seen Fargo countess times, but the 'faxed serial numbers' bit, while very funny, never seemed to connect to the story - except vaguely to the one car- the burnt umber Sierra. Why all the other cars?
I think they're just setting up the fact that Jerry was committing fraud by receiving financing for cars that didn't exist. That, to me, is the original reason why he was so desperate to get money from his father-in-law, and ultimately decided to "kidnap" his own wife.
And of course it's really interesting that we don't really know what Jerry's addiction is or his problem why he needs money.
One of my favorite movies.
Nobody writes dialogue and create such interesting characters as the Coen brothers do.
Theres a scene in No Country that was omitted from the film. Moss picks up a hitch hiker and the dialogue between them is beyond good, should have made it into the film. The dog chasing Moss was added by the Coens though
you made this movie even better than what it was
Cohen Bros, grew up in St. Louis Park, just like Al Franken and Tom Friedman.
Great great vid!
Thanks, Facundo!
Perfect movie.
Youre so right about the "show not tell" and "respect the audience". Movies nowadays are one looooooong storytelling scene of just people talking about what happened before and what they plan to do next. No creativity.
Nice work subscribed!!!
@@xavier-nj4kk Thamks, and welcome to the family!
I grew up not far from where these brothers grew up. It was a part of Minneapolis that was pretty solid middle class and very Jewish. To my ear, the Minnesota accents in the movie are exaggerated but entertaining, even to me. I watch scenes from this movie regularly just to watch something so well done.
The dialogue for the hotel sex-scene was my favourite. She's saying "Oh ya, uh-huh..." and then you realize shes on the phone. 😂 Still makes me laugh.
A film that is so painful to watch, and yet I can't turn away.
That was amazing !
Thanks for watching, Vijay! And don't forget to subscribe for new videos.
@@ScriptSleuth Done!
The storytelling from the Coen brothers in an amazing tale with very well layered characters:
The ineptitude of both kidnappers, and the brains of the operation.
How Wade should have suspected worse from his weasel son in law.
And Mike Yanagita is so creepy!
I just love that movie
Really great movie.
Agreed!