I think of Fargo as the underdog of cinema; the unassuming, easy-to-miss crime thriller when released that went on to be recognized for its intricate and investing plot, powerhouse displays of acting, and keen regional nuances. The film has now gone on to – dare I say – be something of a classic for the mystery genre, producing several quotable lines, memorable setups, and even a TV show, set to debut later this year.

Reviewing a classic is always touchy territory for two specific reasons. The first is that many people have already seen, reviewed, analyzed, and formulated an opinion on the film in question and writing a positive review seems like reiterating all the same points people have done for years and preaching to a disinterested choir. The second is that it's a struggle to find something to talk about in said film that hasn't already been talked about many times before, resulting in a review or an analysis that seems to become groggy and repetitive.

With Fargo, however, I'm feeling pretty comfortable in where I stand and what I have to say about it. Explaining the film's story in writing or aloud may find a way to muddle itself, but I'll push through to give the basics. The story involves a crooked car salesman named Jerry Lundegaard (William H. Macy), who works at a Minneapolis dealership. Pressed for money and fighting desperate times, he negotiates with criminals Carl Showalter (Steve Buscemi) and Gaear Grimsrud (Peter Stormare), whom he meets on a trip to Fargo, North Dakota, to kidnap his wife Jean (Kristin Rudrüd) in exchange for a 1987 Oldsmobile Ciera and $40,000 of the $80,000 ransom. Jerry, in a slick move, plans to inform his wealthy father-in-law and boss Wade Gustafson (Harve Presenell) that the ransom the crooks are asking for is $1,000,000 with the intent of pocketing most of the money.

This plan soon turns disastrous by circumstances that should not be spoiled. However, when things go awry and people end up dead, Officer Marge Gunderson (Frances McDormand), a quirky, Minneapolis cop with a thick accent, gets on the case and is determined to imprison the dirtbags behind these murders. What we get, though, is an exercise in terrific filmmaking in several areas, from acting, pacing, and depictions and the satirizing of a region that do not tread on mean-spirited, simple-minded jabs for humor. At the core of Fargo is a performance by William H. Macy that needs to be seen to be believed; it's a true performance that spawns mixed reactions, as he sometimes portrays a character we can side with, and other times, portrays one we can't help but loathe. Macy's scenes with Buscemi and Stormare are wonderful too, as all the actors bring something to the table: Macy brings his controlled nature that can often be seen as troublesome, Buscemi brings his outrageousness, and Stormare brings his collective mannerisms.

The Coen brothers, Joel (the film's director) and Ethan (the film's co-writer and sole credited producer), could've stopped there and had a great film, but they continue on, with a windy, but completely investing storyline predicated off of plot and wild twists and turns. Normally, I criticize films that make too heavy of an emphasize on story and not enough on character. Instead, the Coen brothers make each individual character distinct in someway, be it their mannerisms, what they say, or even how they say it. This is where the attention to detail for the region comes in. Frequently, the Coens make dual note of the typical niceness Midwesterners tend to possess, as well as the moralistic goodness they provide through their often thick and monotone accents.

The Coens turn Fargo into a hilariously observant work, complete with great pacing, Roger Deakins' impeccable cinematography that never fails to capture locational beauty, making the Midwestern snow shockingly appealing and lovely, and just the benefits of a great story. It's the kind of film that would make a great introduction for people in other countries who have never seen an American film, rather than the abundance of blockbusters and low-rent sequels, don't you think?

Starring: William H. Macy, Steve Buscemi, Peter Stormare, Frances McDormand, Harve Presnell, and Kristin Rudrüd. Directed by: Joel Coen.