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Fargo: secrets and success of an anthological fairy tale about reality

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Almost 25 years have passed since the period that marked the launch of Fargo in theaters and that allowed everyone to get to know the Coen brothers’ cinema. Thanks to the peculiar use of black humor in an ambiguous, dense and nuanced context, the two directors managed to dedicate themselves to the gaze of the general public as great authors, earning a prominent place among the leading filmmakers of our time. Fargo, with its atmospheres and its multiple levels of interpretation, immediately made it clear to the audience that under that veil of references to the grotesque and situations bordering on bewilderment, something very different was hiding: a constant dialogue between themes and elements intertwined by the thin thread of violence, which allowed us to face the contrast between the real and the unexpected without frills and with a ruthless rawness.

These fundamental points, peppered with clear and recognizable stylistic elements, were the foundation of the FX network, when it ordered the creation of a television series inspired by the Coen feature film in 2014. From the skillful hands of Noah hawley so it came Fargo – The Series, a work that has upset television series reaching the highest peaks of the medium. The showrunner, who more than anyone else seems to have understood the spirit behind the creature of those who in the meantime have become two giants of cinema, has created an anthological series that does not intend to follow the Coen trait, but to exploit it to move. towards a new design. Although far from the facts of the movie, the series takes up its spirit in a more than faithful way, even evolving its language and elevating it in all its parts.

Over the course of three seasons – pending Fargo’s fourth season, now close to its arrival in Italy – FX’s production has acquired more and more allegorical charge and narrative depth: focusing the analysis on the complex relationship the show has with the work. reference and delving into the new developments that led to its success, it will be possible to see much more secret and disturbing interpretations of its surface.

A blow to the heart … of the narrative

From the first scenes, the entire narrative of the feature film and the series has been similar in its most direct and obvious aspect: a history of the real, the common and the banal, that suddenly goes crazy faced with an absurd fact, an unexpected turning point.

The whole merry-go-round of meanings revolves around the construction and search for the meaning of this event. Fargo: truth and reality are always present, even in the face of the unimaginableBut they lead the common man to distort his own nature in a possibly favorable situation. At that moment, where all confidence falters and all logic begins to change, the story of the common man becomes a criminal epic. And the series proposes this theme again, altering times, spaces and contexts

“Fargo is not a place, it is a state of mind. It is a true crime story where reality is stranger than fiction and the good guys have to face something horrible “. Hawley, as well as the Coens, highlights the importance of the concepts of truth and history at the base of your narrative. We do not look back, we seek new answers. Even without their parental minds, the world of Fargo works and moves freely between its lights and its horrors, showing the distinctive and recognizable elements of that cinematographic world without ever revealing itself as its real representation.

While playing with references and quotes, the only Red thread that unites the opera, the series and its various seasons is the history of crime in the American Midwest, with special emphasis on that “True Criminal History”. Behind these words lies precisely that conflict between good and evil, between truth and history (or story) that intertwine and entangle each other, fighting without hindrance.

In fact, each story manages to appear similar in atmosphere, but always different and evolved in what it communicates: if the first phenomenal season focuses on conceptual references to the film and on providing a solid foundation for the dialogue of later stories, concentrating the dominance of the scene in a few key characters, and the second one moves away adopting a choral tone. style and more “absurd” – net of the interesting temporal link with previous episodes.

A rudimentary form of evolutionary thesis based on antithetical elements, which with the third season becomes a synthesis: after two excellent seasons, the last episodes of the anthological series perfectly close the circle and allows us to fully understand the complex design of Hawley and associates.

Contrast: key to understanding

Excluding the analysis and spoilers of the plot, it will be easy to guess that the true engine of the narrative resides in the individuals who inhabit the stories and the world: the characters of Fargo, each with their own character, represent the only element directly observable by the viewer to receive what happens in the right way. These subjects live the contrast, they are part of it and at the same time are consumed by it: if on the one hand there are characters of strong moral value, with nothing to hide, on the other the anarchist forces are constantly moving under the track. , mysterious and inscrutable.

However, the most disturbing and fascinating detail lies exactly in limbo between the two sides. the element that takes the dialogue of the show to another level is represented by the subject reacting to the unexpected: the ordinary being who, faced with the randomness of fate, is forced to face the consequences of his choices and avoid everything else.

Following the course of their misadventures in their respective narrative arcs, three cycles are configured that are repeated in different ways: the “good guys” usually arrive at their own truths or a resolution of their conflict, but never to a true victory – just think of Molly in the first season, her father in the second or Gloria in the third.

The “mysterious” are configured as pure agents of chaos, with goals for themselves, without ever giving real answers to their work; the “protagonists”, making an extreme decision, cherish the idea of ​​getting away with it but end up paying the bill for a fortune they don’t deserve – see Lester in season one, Peggy in season two or Emmit in season three.

Observing with special attention, the unexpected can be considered as a character above suspicion: moving through the darkness of the world, relying on its secrets and the most mysterious characters, this dark force often takes over in the twisted intrigues of the events narrated.

Of violence, truth and lies

In fact, faced with the absurdity of the violence that hits the characters and the viewer himself, it is inevitable to wonder where the sense of reality lies in events that seem crazy and senseless. Everything acquires increasingly macabre contours for the characters themselves, who find the affection of their loved ones as the only refuge from the chaos. But, as unthinkable as it may be, violence also has its logic: act on the basis of the truths that the characters tell, those that they tend to hide and those that they try to make credible in the eyes of others. As the characteristic poster of the first season of the series shows, it is the dialogue between the truths of each one that makes the intertwining of Fargo, bringing to light realities much more absurd than the lies that the characters try to make you believe.

However, as already mentioned, the violence maintains its link to reality despite the events turning incredible. On the one hand, it represents the only instrument of effective liberation of being; on the other, it is fragile when fate claims those who have used it. In the world of Fargo there’s an inescapable sense of justice that strikes coldly that it is not worthy of the peace and success obtained through certain means.

The above is linked to these concepts dialogue between truth and lies: already in the first season this is the engine that, as in the film, leads Lester to his actions, since he is strong in his own truth and with the intention of making it come true. In this, the second season deals with the subject in a much more direct way, staging a real “language problem”: the constant alternation between what is said and what is thought.

The third, on the other hand, aims to exploit it to make any natural element complex, highlighting how the context has been so changed by the stories that the truths, however easily detectable, are considered absurd.
In a world like that of Fargo, who trusts so much in beliefs and truths, anyone can be considered correct regardless, and for this reason the full understanding of the truth is always more complex than it should be. As the fish imply, who says you are the wrong one? Who says that you are not right and others are wrong?

The importance of the Order

If something always comes up, in every season of the series, it is the absence of control. Characters are incapable of being masters of themselves and, in fact, always encounter external and violent forces that alter the course of their actions. Hawley understood how important the illusion of control is to a character, and therefore also to the viewer: order is what human beings need the most and, if he is absent, it leads him more easily to get lost.

That’s why all the characters in Fargo they constantly try to reorganize and reorganize to restore compromised balances. It may seem that chance acts without criteria, that fate has no answers and that is where man trembles at his own uncertainties. Rather than wonder if it is possible to decipher the meaning of a world devoid of truth, the series surpasses itself when it shows that, beyond the questions and perplexities, reality remains based on the search for order.

Even in the face of absurdity, order leads man to move in reality and, therefore, to continue interacting with it, seeking its meaning. The idea of ​​Hawley and his creature may seem wildly selfish, but just like in a fairy tale, it shows their cold morality: we need things to make sense and we want realitybut we are always too interested in stories to fully understand them.

Storytelling proves to be a very powerful tool, therefore, that, despite the absurdity of the case, leads the viewer to stay within the narrative, focused and hungry for meaning. In this, the police and law enforcement officers embody order in a world full of fragility, but also the viewer, with their questions, their truths and their wishes. Therefore, despite everything, there will always be a “policeman” in Fargo.

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These are the most popular anime characters according to China

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The streaming giant in China, the platform Bilibili, revealed earlier this year the results of the massive survey “Anime of the year”, although the most relevant results have already been covered previously, this time we have to review the results of the categories “.Most popular characters of 2020“, Where not only the male and female characters of the productions released in 2020 were considered, but also of all previous years.

The survey presents “millions” in the counting results, however, it is worth noting that it does not mean that “those millions” represent individual entries, but rather that users assigned a number of points to each character during the voting period.

Results – Male Characters

10. Madara Uchiha – Naruto

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9. Joseph Joestar – Jojo’s Bizarre Adventure

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8. Noriaki Kakyoin – Jojo’s Bizarre Adventure

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7. Levi Ackerman – Shingeki no Kyojin

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6. Osamu Dazai – Bungou Stray Dogs

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5. Day Giovanna – Jojo’s Bizarre Adventure

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4. Orga Itsuka – Mobile Suit Gundam: Iron Blooded Orphans

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3. Yoshikage Kira – Jojo’s Bizarre Adventure

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2. Joutarou Kuujou – Jojo’s Bizarre Adventure

1. Dio – Jojo’s Bizarre Adventure

Results – Female Characters

10. Takagi – Karakai Jouzu no Takagi-san

9. Sakura Kinomoto – Cardcaptor Sakura

8. Rei Ayanami – Neon Genesis Evangelion

7. Aqua – Kono Subarashii Sekai ni Shukufuku wo!

6. Rikka Takanashi – Chuunibyou Koi ga Shitai Demo!

5. Mio Akiyama – K-On!

4. Asuka Langley Soryuu / Shikinami – Neon Genesis Evangelion

3. Mai Sakurajima – Seishun Buta Yarou wa Bunny Girl Senpai no Yume wo Minai

2. Zero Two – Darling in the FranXX

1. Mikasa Ackerman – Shingeki no Kyojin

Source: Bilibili

READ: Attack on Titan 4×10 review: No need for good arguments anymore

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Boruto: what do we know about the opera’s next antagonist?

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The last arc of the manga’s story Boruto: Naruto Next Generations led the protagonists of the opera to face an Otsutsuki. Intending to harness the powers of Kawaki’s Karma to bring the Divine Tree back to life, Isshiki was defeated at the end of a complex battle. But for the blade ninja there is no time to rest.

Boruto chapter 55 led the Seventh Hokage to say goodbye to your best friend, depriving himself of part of his immense power. At the same time, surprised by the return of Momoshiki Otsutsuki, who took possession of the body of the young protagonist, Sasuke was deprived of the Rinnegan. With the Blade’s two strongest heroes greatly weakened, the village of Konoha is in grave danger.

In the pages of the manga it has already been revealed who it will be. Boruto’s next opponent and other young ninjas, who will have to rise up as new defenders of their village. Isshiki’s legacy was Code, the last intern for the Kara Organization.

Apparently Code is too in possession of KarmaHowever, his brand has a particularity that differentiates it from Boruto and Kawaki. The white variant of the seal indicates that Kara’s intern is a failed ship, a being unworthy of becoming a host to an Otsutsuki.

Code, however, intends to accomplish his former leader’s mission to eat the fruits of the divine tree so that he can transform into an Otsutsuki. Masashi Kishimoto had no alternative to continue Boruto’s narrative; Is it really so?

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ONE PIECE: Whitebeard Returns In New Falshback Anime

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The incredible adventure of the protagonists of ONE PIECE stops to make room for a story that dates back a few decades before the events narrated. Thanks to this story, we have the opportunity to see the mighty Edward Newgate in action again.

The emperor, known as the strongest man in the world, lost his life during the Marineford War in which, due to the capture of the Portuguese D. Ace, we saw the alliance of the pirates of White beard and the Navy. The pirate’s death was also a symbol of his strength, in fact he took his last breath while standing upright. Currently, thanks to the new flashback that delves into the character of Oden Kozuki, the legendary warrior is shown again.

Arrived on the island of Wano, Newgate meets the mighty samurai who without even introducing himself face the pirate in a duel and then he asks her to accept him on his ship to travel together, in fact, Oden’s dream has always been to leave his island to go out to discover the world. Both the Red Scabbards and Whitebeard himself are reluctant to let Kuri’s daimyo set sail, but the swordsman’s insistence prompts the emperor to make a decision: if the man had survive by holding on to a chain towed by the pirate ship for three full days, he would become a member of the crew.

The episode ends, however, showing the samurai letting go of the chain and then shifting focus to a new character: Amatsuki toki. What do you think of Bababianca’s appearance in the flashback? Write us in the comments.

Finally I remember that thanks to the ONE PIECE episodes we were able to discover the past of the Red Foders and I leave you a news about a figure dedicated to ONE PIECE Usopp.

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