Fargo(in Hollywood Movies) Fargo (1996) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Fargo on your mobile, tablets and ipads
Plot: Jerry works in his father-in-law's car dealership and has gotten himself in financial problems. He tries various schemes to come up with money needed for a reason that is never really explained. It has to be assumed that his huge embezzlement of money from the dealership is about to be discovered by father-in-law. When all else falls through, plans he set in motion earlier for two men to kidnap his wife for ransom to be paid by her wealthy father (who doesn't seem to have the time of day for son-in-law). From the moment of the kidnapping, things go wrong and what was supposed to be a non-violent affair turns bloody with more blood added by the minute. Jerry is upset at the bloodshed, which turns loose a pregnant sheriff from Brainerd, MN who is tenacious in attempting to solve the three murders in her jurisdiction. Runtime: 98 mins Release Date: 04 Apr 1996
A masterpiece of Shakesperean proportions (by retroman85)
I've always thought Fargo would make a great Shakesperean play; you could alter the modern elements and still have created a buzz 400 years ago in suburban England. Indeed, the plot is similar to Hamlet's, in that they both have characters we root for who create zany plans than end up spinning wildly out of control into bloodshed. Many people seem to like Fargo for its humorous qualities, its characterization of the Minnesotan culture and Frances McDormand- not me. I love Fargo for its brilliant writing, its tragic musical score, its tragic plot, William H Macy, Harve Presnell and <more>
Steve Buscemi, its ignorance of political correctness how many movies can you remember when the only two minority characters were both revealed to be creeps .I want to draw attention to an overlooked reason why the film works so well - how well the music suits the visuals in this movie. Each murder scene is scored superbly, and other audio clues really add to the effect for instance, notice how when the police officer asks Carl Showalter "What's this?" in reference to the abductee, a disquieting guitar sound is immediately played that has an instantaneous psychological effect on how you interpret the scene . I have seen this film over, well, an embarrassing number of times and have committed its screenplay, from start to finish, by memory. Fargo is the ultimate Coen Brothers movie, a brilliant tragedy, and restores my faith in Roger Ebert as he places this movie in as his fourth favorite movie of the '90s.
If you haven't seen this movie, do yourself a favour and see it. It is very well put together and the plot is constantly evolving into a deeper shade of creepiness. At times scary not in the horror movie sense and quite rich in dark humour, this is one of those movies that gives you a weird felling inside even an hour after its over. The music is quite appropriate and unlike Scarface, is timeless. The camera work is usually quite basic but whoever directed the photography had the enjoyable habit of giving us interestingly artistic segways between scenes. This is the first film so far <more>
that I've given a 10 out of 10. I was going to give it a 9, but I couldn't think of a reason to take any points from perfect.
Nobody seems to know that Fargo is first and foremost a beautiful and very simple love story about two ordinary rural small town American people and secondly a superbly acted crime murder mayhem movie, probably the best that has ever been filmed. Every character is genuine, believable, and Home, not Hollywood, spun. The suspense rolls in and out like a San Francisco fog. The side shows that are built in are amazing sheriff's conversation at a bar with old acquaintance - stamp conversations - breakfast makings . The whole film is an American Shakesphere. I actually know frequent <more>
moviegoers who have not seen Fargo and Sling Blade and Shine . I feel a special sorrow for them. Back to Fargo, every time I watch it I don't want it to ever end. I even sometimes find myself wishfully thinking I could move up there, it's a Lake Wobegone, and then the movie would never end. Fargo is as close to capturing and portraying real life as a director and bunch of actors can get. I wish IMDb had a just one time eleven so I could crown it emperor above all.
The Coen Brothers come up with another winner. (by Ceetee)
With no major stars or well-known names, the actors outshine many more familiar personages. The story is well thought out. The criminals don't try to ingratiate themselves with the audience which adds to its reality. The acting is most convincing and the writing is excellent. Even the cold of a North Dakota winter comes across. Every film course should make use of this movie to demonstrate how to make a very good film without relying on a bottomless budget.
Reflections on a second viewing (by bob.gladish)
This should stand as the Coen brothers' tour de force, although I found "The Big Lebowski" to be an even more satisfying film. I look at "Fargo", "The Big Lebowski", and "Brother, Where Art Thou?" as being the Coen's three best movies. I hope there is more from them in the future that can rival these three; though recent offerings such as "Intolerable Cruelty" and "The Ladykillers", could be proving their peak creativity is behind them. "Fargo" is beyond a doubt, their masterpiece. IMDb's ratings bear this out - <more>
8.2 for "Fargo", 8.0 for "Lebowski", and 7.8 for "Brother". For sheer entertainment, "Lebowski" or should I call it, "The Dude" wins handsdown, but "Fargo" has all the elements of a true classic. Beyond a doubt, I have never seen such a dramatically-obvious portrayal of good vs. evil, and never, never, have I seen such gut-wrenching violence. Oh, the violence, beautifully believable, in it's grotesque way. This movie is proof that artistic freedom to portray such violence should never be denied. Steve Buscemi's bullet-grazed face becomes almost as painful for the watcher as it is for his character; Steve Buscemi's leg in the wood chipper is as horrific a scene as you are ever going to see. Enough to give Marge Gunderson morning sickness all over again. And the good vs evil thing: so obvious in the contrasts between Marge the good , Buscemi and Stormare the evil , and poor Jerry Lundegaard William H. Macy squeamishly caught in a trap in-between. I could only handle the violence because of Marge. She is the rock of normality, who continues trumpeting the virtuous life, when all hell is breaking loose around her. She knows all-to-well that "you know what" happens, but always knows "you know what" can be flushed down the toilet. Frances McDormand, as Marge, deserves every acting award she ever got for this role. Marge, to me, is the most perfect cop I've ever encountered. She is polite, non-judgemental, yet able to ask the tough questions that gets her the information she needs. You can see how thoroughly she sizes up those she interviews: watching every nuance of their body language, and hearing ever inflection of their speech. Now here's a woman who can spot a lie when others can't. Unlike so many cops in movies, she doesn't have to beat information out of someone; she can charm it out of them, all the while appealing to their moral responsibility, no matter how immoral they may be.This is so well-shown in scenes such as talking to the two young hookers in the bar, and putting Jerry on the hotseat in the car dealership interrogations. I elected not to watch some of the scenes on my second viewing. Somewhat oddly, I skipped almost all the scenes involving Jean Lundegaard the kidnapped one - I couldn't bear to watch what was happening to this woman, knowing full well her fate. I felt so sorry for her; she was the true victim in this - the most innocent, yet the one who suffered the most. I guess a case could also be made that her son, Scotty, suffered equally, but most of what he went through was not presented on camera. Maybe he would suffer the most, for he had to live afterward. Even Marge would suffer from this catastrophe, but you know her suffering will be tempered by an unwavering belief that good triumphs over evil. As the last scene shows Marge getting into bed with her husband : despite the horrors that might go on around us, we must seek solace in the everyday beauty of the things that are nearest and dearest to us all. And this message is conveyed to us all by the Coen brothers without any allusions to religion whatsoever. But I'm getting into a personal bias of my own here - if you take solace in religion playing a part in morality, so be it.
When it was released in 1996, "Fargo" met public and especially critical acclaim and collected several rewards. But I think that if the Prize for the Best Directing at the Cannes festival was absolutely justified, on the other hand, Frances McDormand didn't deserve her Oscar in 1997. William H.Macy should have won it. His performance as an hypocritical and dishonest car seller is powerful and unforgettable.What is amazing in "Fargo" are the landscapes, the sceneries and above all the characters. The Coen brothers said about the movie: " the landscapes, the <more>
sceneries are an integral part of the movie. They are typical of the Midwest as well as the characters with their sensitivity and their mentality". They know what they are talking about since they come from the Midwest, more precisely from the Minnesota. As a consequence, they must have been at ease by making this thrilling movie.Concerning the characters, they are the subject of a realistic and down-to-earth description. Each of them has a different but not very status-enhancing characteristic: William H.Macy's cues are almost always hesitating, unfinished or unsure, the two gangsters are just silly guys one of them nearly never talks and most of the inhabitants including Frances McDormand are narrow-minded. By this way, the Coen brothers wanted to underline their meanness of mind and the fact that they are firmly rooted in their land of the Minnesota.Apart from the characters and although the movie is based on a true story, I am obliged to recognize that the script and the way the movie is designed have nothing new. But nonetheless, the tone is daring, there's black humor cleverly used notably in bloody moments that contrasts with a quiet even neutral directing. As for the snowy landscapes, they will later inspire Sam Raimi for "a simple plan" 1998 , a movie as successful as "Fargo"."Fargo" is eventually the finest movie made by the Coen brothers and its place in the top 250 is thoroughly justified.
Fargo is a great piece of movie. It has a strong story and a strong cast. It's down to earth and believable.Jerry Lundegaard is in some trouble. He hires two small time crocks from Fargo to kidnap his wife. The plan is for her father to pay off and for Jerry to take the money. Things don't exactly goes as planned as they kill three people and get a pregnant Chief on their tail.The Coen brothers have does a terrific job on this movie. It's a well written, original story with an original setting and it doesn't try to be anything it isn't. Just a few characters, a simple plot <more>
The Coens are masters of the tease. By that I mean they'll find a closely embroidered dress and then goof with its perfection. They'll pull this and that element of the colored threads out so that its frayed, disturbing the scene so carefully constructed by the original craftswoman. Superficially it looks more homemade, more genuine this way. But if you look closely you'll see that what they've done is a matter of orchestrated destruction. Things defined by their distance from other things.Past that point it is merely a matter of whether the teasing engages or not.Their <more>
previous movie was not well received. The original garment was a combination of a mild Capra screwball and a 30's newspaper fold of a sassy woman detective. The noir mechanics were made explicit, as were the cinematic components.The audience Â by this I mean the general paying audience Â stayed away. They just weren't in the mood for clever deconstruction, no matter how polished.This is a reaction. Its a wonderful project, just wonderful in its way, but also sad in the implied tightness behind the decisions you see.What they've done is frayed the garment on the inside. Everything is sparse, bleak. All the camera setups are overly simplified, all the emotional mechanics understated. Most of it is buried in the snow.If this movie were made by anyone else, it would just be amusing, a calm sketch of a deliberately uncaffeinated selling itself as if it were a chain of simple products.But it isn't. Its a suppressed visit by extremists pretending to not be extreme. Its Lynch doing "Straight Story" and not asking us to know that over every dusk hued horizon is one of his ragged unreal movies.Because of this, we see small gateways into the world of the Dude, or the Sirens. The unborn child will enter a different world. The postage stamp will fly to a different world when the rates change .Watch it for the simple garment, a dress covered by a coat. Watch it for the fraying and teasing on the inside, and imagine the colorful embroidery disturbed on the out.Ted's Evaluation -- 3 of 3: Worth watching.
Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon. Fargo is the kind of movie that appeals to people who have seen a lot of movies because everything is surprising and unexpected. The cop's a woman Frances McDormand . Pregnant. The perps are psychos of course, but there are three of them and each is a different breed of psycho. William H. Macy is a car salesman who dreams up a scheme to cheat his rich father in law out of a million dollars by getting some degenerates to <more>
kidnap his wife. He's a white collar sociopath who always lies whenever his lips are moving unless there is some very good reason to tell the truth. One of the degenerates is a big silent guy Peter Stormare who kills people as one squishes bugs. The other Steve Buscemi is an ugly little bantam who lies and cheats and kills and steals and whines until finally somebody puts him out of his misery.This is Fargo, North Dakota, where people are country and it's cold and not very sophisticated. The movie makes gentle fun of the locals while guiding us to identify with them. McDormand eats a whole lot of Hardee's and Arby's and greasy dishes from the cafeteria piled high on her plate. She's eating for two. She loves her husband and he loves her. They lie in bed at night and watch TV. She's the police chief. She meets an old admirer in the big city. He's Asian. She is just curious. He is desperate. She has a self-effacing, aw-sucks, I'm not too bright but I really am style reminiscent of Tyne Daly in TV's "Cagey and Lacy" from some years back. Her husband Norm is a big guy who cooks for her and is an artist who paints wildlife. One of his duck paintings becomes a postage stamp. They all say "Yaw" a lot.The forlorn cold and desolate landscape of North Dakota is a Americana locale not used cinematically since I don't know when-Clint Eastwood's High Plains Drifter 1973 , I guess. The script and direction are tidy without being too flashy. Everything is designed to surprise or bemuse the audience. Even the accents. There is the requisite quota of bright red blood; plenty of bullets puncture flesh and split bone. There's some gutter sex and a few shocking sights one of the perps stuffs the other into a wood chip machine . All in all it's a slick, carefully crafted thriller with an artistic veneer, nicely photographed. It's clear that Coen and Coen have watched the movies of Atom Egoyan, Gus Van Sant, David Lynch, Oliver Stone, etc., and here pay them the sincere compliment of imitation with variation-or is it the other way around?