Comments on Fargo

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Comments on Fargo

Post by Admin on Sun Oct 18, 2015 8:55 am

After the screening during the class, discuss:

1) what are your thoughts on the narrative structure?

2) What is the journey of the (anti)hero?

3) what was the function of the meeting between the heroine and the old friend in the café?

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Re: Comments on Fargo

Post by Kevin_Eire on Wed Oct 28, 2015 5:05 pm

[size=37]Fargo[/size]
[size=37]Director: Joel Coen and Ethan Coen[/size]
[size=37]Year: 1996[/size]
 
 
 
 
 
 
 
 
 
 
What are your thoughts on the narrative structure?
I personally feel that the narrative structure of this film was good and kept audiences engaged wanting to learn more about each different character. The story itself was basic and simple, a typical storyline for the way the film was created and told, however the character’s that were used in this film were interesting each of them hand their own background and story, especially the main characters such as Jerry Lundegaard and Mike Yanagita both of them had a past which was shown but also hidden at the same time keeping the audiences interested and wanting to learn more about each of the characters. I feel that the way the story was told throughout the film was well done but I feel it could have used better dialogue than what we were given as I feel that there was some unnecessary dialogue used throughout the film along with the over use of the saying Yaaaa, which personally put me of the film, overall I feel the story was well produced and told but the use of dialogue could have been changed to fit the story more and make it more engaging and serious.
 
What is the journey of the (anti) hero?
From the moment we are introduced to the main character (Jerry Lundegaard) we can tell that he is the type of character that is out of his comfort zone and over his head, we can see he is an antihero who’s main aim and prize is money and does not care how he gets it. From the moment we find out he pays two thugs to kidnap his wife we being to see this characters personality and background unfold. As the film unfolds we begin to see Jerry Lundegaard’s journey throughout the film, as he tries to get his father in law to pay the money to release his daughter/wife without the father in law knowing it is him.  As time goes on throughout the film we see that Jerry’s journey becomes more and more complicated and ruthless leading to the death of his wife and father in law. We begin to see that Jerry is a coward who tries to escape his crimes only to be caught in the end. Having this character shows the desperation of the character and will power he has to get what he wants which helps support the story and other characters involved. 
 
 
 
 
 
What was the function of the meeting between the heroine and the old friend in the Café?

When this particular scene arises we automatically begin to see a history connection between Mike Yanagita and her old friend. As this scene progresses we begin to see that Mike’s friend has feels for her, which begins to make her feel uncomfortable especially at a particular moment in the scene where her friend asks to sits right beside her which leads to a strict an rejecting response. Throughout this scene we see two different character showing their emotions to on another but both in a highly different manner, such as Mike throughout this scene we see a private, nervous and awkward Mike, compared to her friend who is more talkative, exicted and open which begins to make Mike feel uncomfortable and regretting her decision to mate him. Having this scene helps establish the Mike character as it gives us a quick insight into Mikes past and what she encountered long ago and how it makes her feel reliving those past events. 

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Re: Comments on Fargo

Post by AshleighJackson95 on Wed Oct 28, 2015 8:35 pm

Narrative Structure
 
The narrative structure of Fargo is incredibly intriguing as an audience generally expects to be introduced to the protagonists first and later the antagonists. In the opening of Fargo we are actually introduced to our antagonists and are only really introduced to our protagonist 30 minutes into the film with Marge yet we still spend more time dealing with Jerry and the kidnappers than with the police and Marge although it is clear that we are rooting for Marge throughout the film. This structure makes the film fairly comedic as nearly everything that goes wrong for Jerry and the kidnappers is humorous and seeing the police follow events we have already seen is more interesting than a regular crime film.
 
Anti-Hero
 
To call Jerry an Anti-Hero is a huge compliment because the audience is never really given any reason to get behind him and support his villainy he shown to be pathetic, submissive and only cares about improving his status in his father-in-laws eyes even though he has a loving wife and child. His journey goes from pathetic weasel and instead of trying to redeem himself he goes further into darkness demanding more money from his father-in-law and only realising he has made a mistake when he sees the murder of said father-in-law ultimately leading to his arrest after abandoning his life, his job and his son.
 
Scene at Café
 
   
The scene at the café served the purpose of showing that Marge as a very Naïve character who believes everything that is told to her about Mike being an engineer with a Wife who has died and him being alone because of her death which she later finds out to be lies. This leads her to be more distrustful of people as she has grown as a character and go back to question Jerry which puts her on the road to finding the truth and resolving the plot.

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Re: Comments on Fargo

Post by ClellAllen on Thu Oct 29, 2015 12:04 am

COMMENTS ON FARGO
1) I think that the structure of Fargo is very well executed, particularly in relation to narrative. What is most interesting about this is the how character is used within the narrative. For example, in true Coen brothers fashion, nothing is conventional. It is very much an original, and experimental film, and the way that the Coen's play around with the concepts of protagonists, antagonists etc. To support this, the Coen's initial protagonist is Jerry Lundegaard. However, as the film progresses towards an approximated mid-point in the film, he has almost become the antagonist. He is what one may refer to as an anti-hero. Though, this almost complimentary title for Lundegaard becomes invalid by the film's climax, when we see how guilt has rendered him weak, fragile and ultimately defeated.
Instead, Marge becomes our protagonist. She becomes the character that the narrative intends the audience to support Marge's character. Though, of course, she is an incredibly unlikely 'hero' if you like. It is very rare that the hero of a film such as Fargo, with it's rather dark thriller elements, with very subtle comedic expressions, is a heavily pregnant female police officer. Of course, this hand-in-hand relates to the debate/discussion of the representation of women in general. But the Coen's have been realistic about their choice of character. Marge is unique, and an unlikely hero, which essentially makes her more likeable in the longterm, leading to the climax of the film, when she solves the case, and the film ends.
2) I would refer to the 'antihero' of Jerry Lundegaard as having an ark of transformation throughout the film. For example, in some scenes within the film, Jerry is the stronger, more dominant character, particularly when dealing with Steve Buscemi and Peter Stormare's character, and almost getting a s sort of satisfaction from having the ability to communicate with his wife's 'kidnappers', and his father-in-law having to take a back seat. For example, when Jerry is sitting in a diner with his father-in-law and his P.A or business associate, they discuss how one of the terms of the kidnappers ransom for Jerry's wife, is that they speak only with Jerry. Jerry is essentially taking charge. Temporarily.
However, towards the films closing scenes, Jerry's in-law decides to defy the intent of Jerry and gets himself killed. But this show's essentially that Jerry really is weak in most situations. This can be seen of course when Jerry discusses the money for his new project with his in-law, which concludes with rejection for Lundegaard. Furthermore, Marge sees right through Jerry in the scene in which she visits him at the dealership; and via his own transparency of character, he  brings the unwanted police attention onto himself, resulting in his incrimination. These are not what one might call the conventions of a hero, anti-hero or anything of any sort of strength. As soon as things get out of hand, Jerry loses grip on the kidnapping, and completely lacks control over her captors.
3) The cafe scene essentially reveals more of Marge's character. Of course, it does not directly result in any kind of significance in the conclusion of the film's narrative. However, it does affect her character. It creates are sort of personal and internal scepticism, and she senses that something isn't right, particularly with her conversation with Lundegaard. This of course results in her finding Jerry out, and the events of the film unravel. However, her conversation in the cafe with her old friend basically shows that her friend is the donor character, if one was to use the basic character conventions according to Todorov. In those original conventions, an item would be donated, however in context to Fargo, the information about her friends 'apparently' dead wife, and her further investigation into said information results in the case of Lundegaard and his botched kidnapping being solved by Marge.

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Re: Comments on Fargo

Post by Admin on Sun Nov 15, 2015 11:00 pm

Interesting views and comments Smile 
Some spelling and punctuation mistakes here and there, but not overly important, being written for the forum.

On the speech and dialogue characteristics, this is an element that the Coen brothers wanted to include because it is specific to the region where they were brought up. They portray characteristics of Scandinavian speech, having numerous settlers from this area in the past. In fact, the main characters had to learn this accent. In interviews, they said that they wanted to include it because it makes the location both familiar and unfamiliar to the audience, creates a sense of Otherness. It increases the feeling that there is this small town, far from everywhere, where people are living their simple lives, where there is no complications and people just say what they think and feel. We have conversations on morning sickness, for example, as if they were talking about a hangover, the general breakfast talk that inverts common gender roles, etc. The disruption of the murders, thus, intends to be more socking in opposition. The speech, at the same time, relies on the monotone tone and the somehow non-emotional and ultra-polite delivery to highlight the way in which the main character makes her discoveries.

The film has both a true heroine (Marge) and a false hero, who is in fact an anti-hero (Jerry). Their journeys are atypical and the heroine is not introduced until very late on. In this sense, it makes a bit what Psycho did, makes you think that the film is going in one direction and have a certain protagonist, only to swap main characters later on. In this case, however, is much later on.

Very well spotted and analysed the scene café, it will show us Marge's naivety and makes her realise that Jerry might have also tricked her, therefore deciding to go back and chase it further. It is all about character building (she is shown as loyal, polite, trusting, friendly, happy to meet old friends and act sympathetically), the events of that meeting will make her re-evaluate her previous actions and move the story forward.

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Re: Comments on Fargo

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