Also in Leslie Nielsen's Naked Gun 33 1/3 :lol:
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Also in Leslie Nielsen's Naked Gun 33 1/3 :lol:
An excerpt from Ebert's review on Coen Brothers' next film, No country for old men:
Many of the scenes in "No Country for Old Men" are so flawlessly constructed that you want them to simply continue, and yet they create an emotional suction drawing you to the next scene. Another movie that made me feel that way was "Fargo." To make one such film is a miracle. Here is another.
Looks like this movie has pleased all the critics. Can't wait to watch :P
:clap:Quote:
Originally Posted by Nerd
A question from 'Fargo' to which there has been no satisfactory answer (in IMDB):
What is the significance of Margie's Japanese friend? Why that character?
And another one that seemed out of place - when the killer is finally arrested and is being taken in the car, Margie says that she can't see how money can be a catalyst to his crimes. For a police office who has been in the force for long, it is difficult to believe that she hasn't seen enough money driven crimes. Sabayorin karuthu enna?
There was a Ebert-Scorsese special, discussing about their top 4 films from the 90s. Fargo featured in Ebert's list (Scorsese named some less popular films, and he named my favorite war film "Thin red line"), they discussed about this character, how he plays an important part in the narrative. The husband (brilliantly played by William H Macy) and the Japanese guy are quite similar with their nervousness, later when Margie discovers that the japanese guy cooked up a story, she immediately connects it to Macy, and goes back to investigate him, the rest follows..Quote:
Originally Posted by kannannn
Well, the guy chases back few kids (and leaves his large bootprint) to brutally kill 'em, it's probably because of his homicidal tendencies, and equally with an intent to dispose evidences (as they see their faces). Also because of the way he disposes Buscemi, that character couldn't have possibly be driven by 'money' alone. Thus, his homicidal tendencies got a 'catalyst' in money, thus that line could be the disbelief of the dangerous crime being driven by money, but also because of the character's psyche..Quote:
And another one that seemed out of place - when the killer is finally arrested and is being taken in the car, Margie says that she can't see how money can be a catalyst to his crimes. For a police office who has been in the force for long, it is difficult to believe that she hasn't seen enough money driven crimes. Sabayorin karuthu enna?
However, Coen brothers often deceive with their lines, some of 'em are quite multi-layered. In many films, they easily deceive a serious situation into something which could seem satirical, or slapstick!
That makes a lot of sense. So, it basically means Marige is naive and believes people in the first instant.Quote:
Originally Posted by thilak4life
Also makes sense (especially the brutal nature of Buscemi's death). An interpretation I had was that Margie was after all a small town police officer where crime is so low that a homicide of this nature is perhaps the first and she is surprised at that.Quote:
Originally Posted by thilak4life
Trivias from the DVD special features interview with Coen Brothers and Frances McDormand..Quote:
Originally Posted by thilak4life
1. Apparently Macy was supposed to say Orange Ciera, but he didn't like the way it sounded and replaced it with Tan Ciera.
2. Frances McDormand and John Carroll Lynch developed a background story for their characters. They were both in the police force and Lynch quite his job since the foce was small to have both and since she was better than him at the job. She then encourages him to pursue his passion - painting.
3. Coen Brothers are so alike in the way they think that when McDormand goes to each with her ideas, the answer she gets from them is always the same :D .
Wow, interesting. Never knew this. the first one is surprising, considering their knack for the accent, words, costumes, and the backdrop in their films..Quote:
Trivias from the DVD special features interview with Coen Brothers and Frances McDormand..
1. Apparently Macy was supposed to say Orange Ciera, but he didn't like the way it sounded and replaced it with Tan Ciera.
2. Frances McDormand and John Carroll Lynch developed a background story for their characters. They were both in the police force and Lynch quite his job since the foce was small to have both and since she was better than him at the job. She then encourages him to pursue his passion - painting.
3. Coen Brothers are so alike in the way they think that when McDormand goes to each with her ideas, the answer she gets from them is always the same
An interpretation I had was that Margie was after all a small town police officer where crime is so low that a homicide of this nature is perhaps the first and she is surprised at that.
Yes, and most thrillers of Coen's has often been driven by 'coincidental' events. The characters aren't smart in truest sense, and often act by instinct.
"The man who wasn't there" is an interesting film to be placed and analyzed side by side with "Fargo"..
Nice discussion here, Thilak and Kannannn!
Thilak,Quote:
Originally Posted by kannannn
It's this conversation that you're referring to. I think both Ebert's and Rosenbaum's reviews of the film pointed out this scene in particular.
Kannannn,
That Margie picks a "connection" between her former classmate (and ex-boyfriend?) and Jerry Lundegaard is indeed suggested in the film. But, I think it'd be somewhat inappropriate to say that Margie is naive enough to believe people and what they say in the first instant. The first time she talks to Jerry, she notices how nervous he is, but doesn't understand why. Why would he lie to her? She sees no reason how he -- an executive sales manager in a firm owned by his father-in-law -- could be (and why he would be) involved in such a "malfeasance."
When she comes to know that her bumbling friend had lied to her about his marriage, career etc. before breaking down (and even then, cooking up a tragic story about how his wife died of leukemia), she doesn't get that either. Why would anyone create such a web of lies? (She keeps mulling over that as she is driving, when she's having a burger on the way.)
It is this "spiritual" alienation in both these men that strikes Margie. In a way, she actually connects to Jerry after she comes to know that she learnt no truth about her old boyfriend when she met him.
This is not to question her naivete (as we perceive it) per se, which is superbly portrayed in the film. Like what she says as the film draws to an end. She's being simplistic alright, but in simple terms, she's also being right. (It's played out like one of those "who's-being-naive-Kay?" moments, the way I see it.)