Masters in the art of telling a good story through cinematographic cameras, the Coen brothers tend to stand out for their very peculiar characteristics, such as their narrative economy, the hints of black humor that permeate their films and their remarkable ability to create striking scenes. All of this can be found in the excellent "Fargo", a feature that certainly deserves a prominent place among the countless interesting works of the Coens, which is no small thing, considering the vast and qualified filmography of the duo. Beneath the surface of a suspense thriller and police investigation, the screenplay for "Fargo" (written, as usual, by Ethan and Joel Coen themselves) tells the story of desperate Jerry (William H. Macy), a manager at a car dealership. Automaker who faces financial difficulties and decides to plan the kidnapping of his own wife, Jean (Kristin Rudrud). Problem is, things don't go as well as planned, and when kidnappers Carl (Steve Buscemi) and Grimsrud (Peter Stormare) commit multiple murders, determined cop Marge (Frances McDormand) starts investigating the case.

Responsible not only for the script, direction and production, but also for editing "Fargo" under the fictitious name of Roderick Jaynes, the Coens confirm their ability to keep the viewer attentive to the intriguing events that follow, leading the narrative in a direct and efficient. Filled with interesting dialogues, the creative script opens up a range of possibilities at every moment, always brilliantly working on how chance influences our lives. However, unlike the characters who can never predict what will happen next, the Coens demonstrate total control over what we see on the screen, creating absolutely electrifying moments (which I will come back to in a moment) amidst the sea of tranquility of the peaceful city from Brainerd. However, despite all the suspense, "Fargo" is also filled with a lot of dark humor, featuring a series of hilarious moments that serve to break the growing tension of the narrative, such as when Jean runs away tied up on arrival at the captivity or in the funny interview of Marge with the hookers.

Betting on graphic violence, as in the scene of the murder of the policeman, in the delivery of money in a hotel and in the arrest of Grimsrud, the Coens create a chain of events that only worsen Jerry's situation and, precisely because they show the tragic results of their actions, make the viewer care about the fate of the characters. However, despite working very well as a thriller, "Fargo" relies on dark humor to address other issues, functioning as a study on the lifestyle of that peculiar region of the USA. One of the aspects that deserves extra attention is the cinematography, directed by Roger Deakins. Jerry is normally framed at the shoulders or closer. This type of cut accentuates the intensity of the scenes: the viewer can feel almost trapped by the character's gaze or emotions, bearing in mind that the actor's proximity to the camera leaves little more space to look at, just the expression of disgrace of this man. Like him, we have nowhere to escape. One of the most visually striking scenes takes place after the protagonist's father-in-law refuses to give him the amount of money that would completely cover his debts. Jerry ends up leaving the building and sees him from above, heading for his car. The canvas is completely covered by the white of the snow and the only color is his small and insignificant figure, illustrating the solitude he was relegated to, completely abandoned to his fate. Furthermore, the vases symmetrically placed in space almost corner man in his own misery.

Investing in icy colors and masterfully exploring the rawness of the neighboring regions of Minnesota and North Dakota, full of roads surrounded by snow that blend into the skyline and create a look that is both beautiful and frightening at the same time, Deakins' photography is crucial to illustrate the loneliness of the people who live there. This isolation even collaborates to increase the tension in key moments of the narrative, such as the night of the murders, where we know that the innocents who cross the path of the kidnappers will rarely escape with their lives on that cold and abandoned road. Incidentally, this chase scene is among the great moments of the feature, making the viewer glued to the chair while following its outcome.

Wearing sober suits or clothes that convey an austere image (Mary Zophres costumes), the characters of "Fargo" represent the central force of the narrative. With his drawn accents and sharp dialogues that betray the funny way of speaking, even supporting characters with small participations become a separate attraction, as Mr. Mohra (Bain Boehlke), who delights us by telling how she heard from the drunken Carl where he would be hiding. On the other hand, this grace will hardly be perceived by a spectator who does not have at least some notion of English (it would be like trying to explain to a foreigner the grace of an accent from any region of Brazil). Also amusing is Peter Stormare's performance as Grimsrud, Carl's mute and menacing partner - who, as usual, is masterfully played by Steve Buscemi, a true expert in the art of playing criminals.

Appearing fragile and hesitant most of the time, Jerry from the great William H. Macy seems unable to impose himself in any dialogue, stopping to speak at the slightest sign that he will be interrupted and stammering several times, in a clear sign of lack of confidence that the actor demonstrates it very well. This feeling, combined with the character's determination to seek a way out of every obstacle that arises (and there are many), is essential for the development of the narrative, since we can rarely predict the character's next steps. But if the entire cast has a great performance, the highlight is Frances McDormand, who gives enormous charisma and a disconcerting simplicity to Marge, a woman seven months pregnant who dedicates herself to her work and her family with the same intensity, calling her attention whenever she enters the scene thanks also to the great performance of the actress. It is she who calms the viewer with her simple reasoning and her direct way of solving problems, something that is clear, for example, in her visit to Jerry's office and in her conversation with an old college friend.

Among so many great moments, it is worth highlighting the excellent kidnapping scene, in which we see Jean paralyzed in front of the image of the kidnapper looking into the house through the window. Notice how Joel conducts the scene with precision, investing in black humor to ease the tension - after all, only in a Coen film would a kidnapper calmly walk around the house looking for an ointment while the victim, after trying to hide, leaves wrapped in a curtain and hides. Crashes to the ground. Likewise, the way in which the big guy Grimsrud tries to disentangle himself from his partner's body in the third act is simultaneously comic and tragic. What is never tragic is the result of the work of the Coens, who, even when they don't get it right, manage to make great films. When they are inspired then, the result can only be spectacular, and this is what happens in "Fargo", a tense and fun film, which has a talented cast to become one of the best examples of what the Coens are capable of.

The way the Coen brothers develop Fargo's story is wonderful. With mastery they manage to create chaos through a huge chain of lies, without making the story complicated or surreal. With a very well written script and great performances, they show how one lie leads to another until it turns into a huge snowball. In other words, they prove that if you're not a good liar, it's better to tell the truth soon because sooner or later you're going to fall.

"Fargo" is a work of impeccable script and unique execution that manages to create different reactions from the spectator, managing to bring him into the film, immersing him completely. His work with three parallel narratives guarantees a unique dynamic to the film, which is, at the same time, fast and slow without ever losing harmony. It definitely has enough material to be explored in the recent TV series adaptation, even if it's a risky bet. It is an unmissable film that leaves us wondering if those events really happened.