We want to hear what you have to say but need to verify your email. Please click the link below to receive your verification email. Cancel Resend Email. Watch trailer. You might also like. Rate And Review Submit review Want to see. Super Reviewer. Rate this movie Oof, that was Rotten. What did you think of the movie? Step 2 of 2 How did you buy your ticket?
Let's get your review verified. Fandango AMCTheatres. More Info. Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.
How did you buy your ticket? View All Videos View All Photos Movie Info. Jerry Lundegaard William H. Macy is a car salesman in Minneapolis who has gotten himself into debt and is so desperate for money that he hires two thugs Steve Buscemi , Peter Stormare to kidnap his own wife.
Jerry will collect the ransom from her wealthy father Harve Presnell , paying the thugs a small portion and keeping the rest to satisfy his debts. The scheme collapses when the thugs shoot a state trooper. Joel Coen. Ethan Coen. Joel Coen , Ethan Coen. Mar 15, wide. Aug 1, Gramercy Pictures. Frances McDormand Marge Gunderson.
Steve Buscemi Carl Showalter. William H. Macy Jerry Lundegaard. Peter Stormare Gaear Grimsrud. Harve Presnell Wade Gustafson. John Carroll Lynch Norm Gunderson.
It contains spoilers. It contains a link. Why are you flagging this review? Kyle C. Sep 27, I loved this movie. Flag this review. Jacob F. Sep 21, Didn't care for it.
Dave S. Sep 13, Leave it to the Coen Brothers to take a seemingly standard crime caper and elevate it to a level rarely seen within the genre. Sep 01, francis mcdorman sexy francis mcdorman sexy Flag this review. Jona I. Aug 24, Decidedly quirky, darkly humorous, and grossly violent. Isaiah S. Jul 31, 5 star movie. Yah 5 star movie. Yah Flag this review. Micah S.
Dan R. Jul 29, A pure classic. Robert P. Jul 28, Fargo is a super great movie, because of Francis who is such a good actress everything she is in turns to box office gold. Yaniv M. Jul 24, As dark as comedies get, the Coen brother's witty, weird tale shines thanks to great performances and innovative story.
Go back. More trailers. Does my organisation subscribe? Group Subscription. Premium Digital access, plus: Convenient access for groups of users Integration with third party platforms and CRM systems Usage based pricing and volume discounts for multiple users Subscription management tools and usage reporting SAML-based single sign-on SSO Dedicated account and customer success teams.
Learn more and compare subscriptions content expands above. Full Terms and Conditions apply to all Subscriptions. Or, if you are already a subscriber Sign in.
Of course, his character is an outsider in the milieu where he finds himself, but at the same time he has an ethnic connection to it. How do you work with your music director Carter Burwell?
JC: He has worked with us since our first project. Before planning the orchestration, he plays parts of it for us on the piano, and we think about the connections these might have with certain sequences of the film. Then he goes on to the next step. EC: In the case of this film, the main theme is based on a popular Scandinavian melody that Carter found for us. JC: This is often how we work with him.
For The Hudsucker Proxy , it was different yet again, a mix of an original composition by Carter and bits and pieces of Khachaturian. EC: After he completes the orchestration, we go along with him to the sound recording studio. For our last two productions, he directed the orchestra himself. While the film is projected, we are still able to make last-minute changes.
All told, the collaboration with him does not last more than two or three months. How long did the editing take? JC: About twelve weeks. Did the principal photography pose any problems for you? JC: It was easier for us in this case than with our other films. We talked it over a great deal with Roger Deakins because we wanted to shoot a good many exterior long shots. From the very beginning, we determined to use nothing but shots where the camera does not move.
EC: Afterward we decided that this purist attitude was pretty stupid. JC: And so we decided then to move the camera sometimes, but in such a way that the viewer would not notice it.
EC: Roger Deakins worked on this production with a camera operator although, in the past, he was most often his own camera operator, including the two films he had made for us. This time he did not take charge of everything because he was often busy with the camera. On Fargo, we had problems with the weather because we needed snow, but the winter when we shot the film was particularly mild and dry.
We had to work in Minneapolis with artificial snow. There we found exactly what we were looking for: a sky with a very low ceiling, no direct sunlight, no line marking the horizon, only a neutral and diffuse light. JC: The landscapes we used were really dramatic and oppressive. There were no mountains or trees, only desolate flatlands extending into the distance.
Do you spend a lot of time looking through the camera? For Hudsucker Proxy , less. And even less in the case of Fargo. This was no doubt a reflection of the material in each case and of the visual effects we were looking for, but it also resulted from our developing collaboration with the director of photography.
When we work regularly with someone, we rather quickly develop a sort of telepathic language. I also think that Roger likes to work with people like us who take an active interest in problems of lighting, rather than with directors who depend entirely on him. JC: Whenever we edit the film ourselves, we use the pseudonym Roderick Jaynes. We prefer a hands-on approach rather than sitting next to someone and telling them when to cut. In any case, there are two of us in the editing room.
As for everything else, we work together, and we never have the feeling of isolation that other people sometimes have. On Barton Fink and Blood Simple , we were also our own editor.
On the other projects, we have used an editor, but we were always there, of course, whenever we could be. But if we called upon Tom Noble or Michael Miller in these other cases, it was because the editing, for reasons of scheduling, had to start while we were shooting.
It seems you are interested in exploring American geography. JC: We would like to shoot somewhere else, but, bizarrely, the subjects we come up with are always set in America. In the case of Fargo, the connection was obviously even closer.
JC: We have a need to know a subject intimately or, at least, feel some emotional connection to it. At the same time, we are not interested unless there is something exotic about it. For example, we know Minnesota very well, but not the people who inhabit Fargo or their way of life.
What are your connections with the characters in Fargo, who for the most part seem somewhat retarded? JC: We have affection for them all and perhaps particularly for those who are plain and simple.
In this sense too, our movie is closer to life than the conventions of cinema and genre movies. JC: We are often asked how we manage injecting comedy into the material. But it seems to us that comedy is part of life. Look at the recent example of the people who tried to blow up the World Trade Center. They rented a panel truck to use for the explosion and then, after committing the crime, went back to the rental agency to get back the money they left on deposit.
The absurdity of this kind of behavior is terribly funny in itself. What projects are you working on? JC: One is also about a kidnapping, but of a very different sort. The other is a kind of film noir about a barber from northern California, at the end of the s. Roger Deakins experimented with how little light he could get away with during two scenes in Fargo —one set during the day, and another shot at night—where tiny car headlights provide the only pinprick of illumination in this snow-covered setting.
So I sent my assistant Robin out to shoot that sequence, but we had marked every shot with the cars, we had walked through and put stakes on the ground and knew where every camera went. When Bill Macy scrapes off his car in the parking lot, that was all created. A great meeting of the minds which dares to examine film music from a psychological perspective.
Highly entertaining and worth every minute. Minnesota Nice is a fascinating, odd minute documentary about one of the finest, strangest and funniest films to come out of America of the last couple of decades, Fargo. Once again, remastered Fargo on Blu-ray is a must—have! Purchase your copy at Amazon. You want to read Jerry? You want to work on it and come tomorrow?
0コメント