Open a fire door and there's another fire." Fargo has never seemed so cynical before, but Season 3 is an example of a series that both doesn't take itself seriously, but has the capacity to teach you a few lessons along the way. Within the spectrum of all its characters, there are numerous examples of the facets of life, each defining a different aspect. It is this wide spectrum that has always marked the series as being superior to others - it likes to question everything, and ignore nothing. Written by Noah Hawley, the finale is tipped in heavy symbolism, but the subtlety is the masterstroke.
The episode was well-directed - everything from the tension-filled assault to the landscape shot of both Swango and the police officer lying dead on the highway. Keith Gordon paints a gruelling, if beautiful, picture of the world of Fargo in fine detail. Despite almost being immune to the events of Hawley's show, Gordon manages to make us question everything with some unsuspecting direction, and that closing shot of the clock is just the right closure the season needed. In terms of the events that happened - this was a bloody instalment. Perhaps not as violent and emotive as the second season, but this season takes the biscuit for the decisions of its characters, and the ultimate consequences that arise. Last week sought to give us a sum-up of all the weird and wonderful things that have happened so far, but this week sought to complete them. Swango and Mr. Wrench turned into a formidable double-team as they quickly dispatched Varga's henchmen with barely a scratch. But, whilst Mr. Wrench has always shown a stubborn professionalism in the way he executes his mission, Swango is new to the game. On top of that, she's driven by the urge to avenge. This inadvertently leads to her demise as she becomes so confident that she believes that she's invincible to the harsh world. That was her final chance. Interestingly, Emmit, who has suffered a lot for barely any catalyst whatsoever, manages to survive everything, and even gets five years of respite to regenerate himself from the entire ordeal of Varga and the demise of his company. But the past still came to kill him, better late than never. Mr. Wrench's decision, I think, comes from his respect for Swango, whom he worked well with during their brief partnership. Anyhow, Emmit seems to me to be the most fascinating characters, seeing as he probably the most vulnerable target in all the events. He was outsmarted by everyone, and yet he came out of his hidey-hole five years later, ready to depart. Varga managed a lot in the illegal dealings he made with Emmit - the twist involving Goldfarb was actually quite shocking, and tied-up the whole money-laundering scheme well. But, it was most interesting to see Varga, the lone wolf, scared for a brief moment as he was trapped between death. A man so caught up in his riddles and money-magic that he forgot the one thing that's certain in life - death. And, despite years of trying to finish her mission, Gloria finally got her hands on him, the elusive catalyst in the entire affair that started with the death of her stepfather. Whoever wins the future prediction, Gloria is content at the fact that she knows everything - through thick and thin and through all the deception, she has finally connected the dots. That's the most satisfactory payoff of the season. A nuanced series, with a thousand messages embedded within the minds of every character, Fargo continues to be a defining television series in the new age of filmmaking. With its elaborate tales, twisted nightmares and unsavoury personae, Hawley has created a masterpiece on camera that will forever be remembered for its originality. Apart from a few shows that have affected me more (but they'r minimum), Fargo is one of the best things ever made. 9.5/10 Season 3: 9/10
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I've been killing him for years. That was the day he fell." It's interesting to see Varga being outwitted so easily, but at the same time, with an ally like Mr. Wrench it's not hard to see how Nikki's taken the upper hand in this bloody game. But Varga has also been implementing a contingency plan behind the curtains, allowing the unassuming police to be put off the scent with a decoy killer who had all the evidence required to convict him and a confession himself. But, this is just moments after Emmit confesses himself to the murder of Ray, which leads Gloria to conflicting tales. The question is now then, will she be forced to release Emmit back into the wild to be consumed by the wolf?
This was an incredibly short episode, possibly the shortest of the entire series, but a lot transpires. Swango especially is going somewhere, as Varga quickly realises. The trickery with the grenade was nicely done, and along with the familiar music, we were harking back to the first season. Varga may be evil and cunning, but he's nothing without his henchmen. The clever use of decoys in the final scene proved that he still has an ounce of wisdom left in him, but both he and Swango are at an impasse as to how to complete their deal. Whatever comes out in the final episode, it will no doubt be unexpected. The Sheriff continues to show his aptitude for blindness, but in this case we can't exactly blame him, seeing as everything has been meticulously planned and set up. But his cockiness and ego-induced attitude as he revealed his catch does make you want to hit him square in the face for good measure. Gloria still remains the hero of the show, but you can't help feeling that she's been left in the lurch from the beginning, tossed backwards and forwards on different trails until she will finally get an answer next week, if at all. This may go hand in hand with her aversion to technology, but when we as the audience know everything it's hard not to shout at the television to tell her the truth. Ewan McGregor takes the star of the week as his performance in the interview was astounding. It's also testament to Noah Hawley's writing that the story he tells is so poignant and rings true as the character of Emmit goes through a stage of development in his life. He's learnt the consequences of life, and as long as he can steer clear of the barmy business of Varga and his pals, he should be safe in custody by being honest with the police about his entire role in proceedings. In fact, he's brutally honest, which almost makes me forgive him for being a stuffy, up jumped git, with little to no imagination. A brief, but not quiet, episode of Fargo that sets things up easily for the finale. This story has been about the feud of two brothers that subsequently started a train of events in which the Study brothers are now null and void. It's up to Gloria and her force now to stop what could possibly be a dangerous situation as Varga and Swango inevitably face-off. 8.5/10 These things always have a way of clearing themselves up." An upturned prison truck, a wolf hunt, philosophical chats in the bowling alley, reincarnation, a poisoned co-worker and a room full of stamps - in essence, another episode of Fargo. But, let's be serious here, this is as brutal and wacky as Fargo has been since Season One - a story with flamboyant twists and blood at every door. It's great to see that even towards the end of its third season, this show can still construct a pretty terrifying scenario such as the one Mr. Wrench and Swango are thrown into at the opening of this week's episode.
The return of a fan favourite must be applauded - Mr. Wrench was a brilliant character in the first season and it was great to see two criminals so quickly get along as they desperately fight for survival while being chased by malicious killers. That tree stump scene was particularly nauseous, but shows even in the direst of situations, sometimes the victims can get out winning, as Wrench's lucky shot with an axe severs the Russian's ear. With some well-chosen camerawork and editing, everything falls into place nicely, and we get a smooth transition from the truck accident all the way to the bowling alley. Speaking of the bowling alley - this is where Fargo decides to make things interesting. It seems reality isn't concrete in this season, as a mysterious man greets Swango after she orders a whisky - a man with a cat called Ray. The hint is that the cat is a reincarnation of Raymond Stussy, Swango's love - it's great to see how quickly she accepts this fact, and it reveals how much she misses him. What symbolic meaning the mysterious man has to the story is unclear as of yet, but what is clear is that he's standing in as an adjudicator of the characters, and a man who has been setting characters on their path in the story, almost like a writer. We haven't seen the conclusion of Yuri's judgement, but we can only imagine what that might be. For Gloria, things are more or less quiet, other than the fact that her only suspect has now disappeared following the truck incident. It's frustrating seeing that every time she gets close to an answer, it slips away non-apologetically. But, with this week's conclusion, she might finally be on the front foot of all the goings on in her little town. Emmit has finally decided to confess his sins. You can't blame him, considering the events this week. Being watched carefully by two of the most uncomfortable people, especially Varga, is not a pleasant experience. Ewan McGregor is smashing it as the character, as you can see is complete and utter bewilderment at the predicament he finds himself in - and now with Sy's poisoning, you can see him isolated, just like on the pacific island. This theory of incarnation and his brother coming back for revenge might work really well if the writers do it properly, but it may not be necessary - as this could all be one hallucination after another in this mad old Fargo world. What I am sure of though is that this is quality television with an aptitude for the unpredictable. Everything I've seen so far, I couldn't make it up in my dreams. Two more episodes remain, and probably a whole lot of danger too. 9.5/10 The world is wrong." As we head into the final act of this isolating and claustrophobic season of Fargo, everyone's closer to getting the answers they seek, but at the same time, no one seems likely to get there first. Gloria and Winnie struggle to find the means of persuading their bosses that what they're investigating is substantial evidence of foul play. It's frustrating to hear the police chiefs question the integrity of their hypotheses, when their own integrity is in doubt. Mashed potatoes and all, Chief Dammick is looking like a right idiot with little to no professionalism.
The story of Nikki Swango has escalated quite a lot recently, and Mary Elizabeth Winstead plays it well as Swango first realises that the love of her life, Ray, is deceased. All that hard work has now feeling negligible as she's lost half the reason for doing it. With blood on her hands, she is guilty in some respect, but here she's been accused of the wrong crime and it's pitiful to see her so useless in a prison cell. When she first saw the photo of Ray, you could already tell that she was dissecting the evidence in the picture and already making assumptions about the glass scattered around the room. Intelligent and savvy, she's one of this season's best characters. Gloria is also getting things done, however, she has far more obstacles to overcome. As usual, bureaucracy takes hold of her situation and forces her to find other means of getting to her suspect. Unfortunately, due to the arrival of an unexpected character with a syringe, this almost puts her in more trouble. Along with that shocking last scene, there are a lot of questions about how this entire mess is being handled by Varga's associates. Clearly, Nikki has a vital role in the entire ordeal, so they are attempting to cut her out of the picture completely, but I can see things turning around soon. Emmit and Sy also had a great scene this week, as they attempt to negotiate a sellout at a dinner with Widow Goldthorpe. This is, of course, dangerous seeing as Varga wants to keep them as business partners, and adding Goldthorpe into the mix will only endanger innocent bystanders in their criminal activity. Emmit's character is clearly changing - he's at an impasse as how to protect his business while also uphold his reputation. Accidentally killing his own brother was the last straw for him, and he breaks down in tears on the steps of his own house - entirely in Varga's hands. Sy, also in distress, is in tears as her returns home to his family, now feeling completely lost after Emmit questioned his own loyalty. All the relationships seem to be falling apart, leaving Fargo in disarray. What comes next will be vital in defining whether this is a successful season or not. Considering the last season was incredibly fast, violent and far-reaching, I like the fact that Noah Hawley has gone for a quieter, more nuanced story in the third, giving characters more time to breathe and stories more time to sit in the stomach. I just hope that it can pull through with a big twist to finish, knocking over the chess board. 8/10 A shark in a suit is still a shark." Things are speeding up in an episode that has more threat and tension that all the previous six episode combined. Varga is displaying a consistently sinister role in proceedings as he deftly attempts to control the environment around him. Unfortunately for him, most of his co-workers are incompetent in the art of concealment, and its seems his job is getting more and more difficult. As he is though, Varga doesn't seem to be perturbed by anything - he's a character so wrapped in malice and self-confidence that there's barely an emotion in him apart from perpetual calm. His scene with Gloria and Winnie was particularly crafty, but one wonders whether he's showing too much of his disinterested self - so much so that now the police chief is even more suspicious of Stussy's organisation.
One of my favourite scenes has to be when one of Varga's henchmen sees the IRS representative by not only mimicking his over-obsessed, perfectionist nature (which reminded me of a scene from PIXAR's the Incredibles), but also threatening him with a protestation. Whether this has permanently silenced the IRS is one question, but considering the persuasiveness of Varga's employees, I don't see much of a problem on that front. Following her brutal attack last week, Nikki continues to suffer her wounds, but is still forced to relocate as the suspicions of the police continue to increase. The fact that she and Ray settle up in a motel is akin to season two's horrific shootout. Thankfully, this is less messy, but with Nikki left alone, her paranoia may be getting the better of her. Nevertheless, I have a sneaky suspicion that despite the capabilities of the two henchmen, she can look after herself just fine, even in her ailing condition. But, with the tragic events of the episode that unfolded towards the end, will her mind to impulsive manoeuvres from now on, or will she continue to keep a straight head. The Study brothers meanwhile, concerning their relationship, has reached breaking point, quite literally. Despite Emmit trying to patch things up with his brother meaningfully, Ray is far more stubborn about the nature of his gesture of giving him the stamp, despite their longtime feud. Emmit may have been attempting to cover the trail following his lies to the police, but it definitely does not go as planned. The symbolism of this scene is that the stamp killed Ray in the end. His obsession with it, or the idea of it being in his brother's possession has been his driving force in this storyline - but here he is, struck down by his own determination. And, Emmit, who has been teetering on the edge of madness ever since Varga made a house call, is now so deep in the events that he may never be able to live the ordeal down. A whole host of emotions sets the bar high with this episode. Ray's death has a mixed appeal in that Emmit has done something that Varga wanted dispatched anyway, but this will inevitably transform Nikki's course of action completely. As we head straight in to the final four episode of this season, with the stakes this high, we can expect some great developments. I would like to mention how much I appreciated the use of music in this episode too - it allowed for a great mix of tempo, and created a good basis for Varga's fascinating monologues. 9/10 You may not like the truth, but it's still the truth." This is possibly Fargo's darkest story yet. Vulgarity and brutality take centre stage in a deceptively harsh segment of the series. You could almost be fooled by that wonderful scene on the bus as Ray swear profusely at his brother over the phone, before announcing to the other passengers that it was his 'mom'. The capability to balance comedy and threat in one episode is a great skill that Noah Hawley has demonstrated many times before. However, this particular episode suffers perhaps because it goes too far both ways. Suddenly, there's a tug o' war between the lighter Fargo and an incredibly dark Fargo that seems to be looming.
Far more Stussy brothers this week, with a wonderful double act performance from Ewan McGregor who seems to effortlessly swap between the two. For Emmit at least, things are looking dire as not only has his brother framed him in an affair that has concluded with his wife leaving the house, but also Varga is now tightening his hold on the business, and turning friend against friend. He definitely seems to be stirring up some terrible lies - perhaps in an effort to isolate Emmit and force him to complete all his evil plans. Sy got a heavy spotlight this week too, but perhaps not for good reason. Viewers experienced one of the most disgusting scenes imaginable in entertainment that will leave wanting to wash your cook wear three times before every using them again. This leads to a transformation of a character who was originally the comic relief. Now, Sy is a man lost in his own confusion, trying desperately to reassert himself in his work, but also maintain his authoritative figure as Emmit's partner in the business. This quickly deteriorates when Varga's henchmen interrupt his meeting with Swango and beat her almost to death. It's a sickening scene, and one that makes us question how Ray's plans will continue without his orchestrator and now wife-to-be. The imagery is always important in Fargo, but there was less of it this time around. I did enjoy seeing Varga in the background as Emmit discussed matters with the IRS employee. It gives the notion that he is always in control and will do anything to protect his investment. Sticking to his character trait, soon after the meeting, Varga confronts Emmit about whether he heard anything about a wife or kids, promptly stating that they could be useful. We know now, as avid watchers of Fargo, that a line like that is dangerous and is often foreboding of an event in the future, but there's something worse about Varga. He's not only devious in mind, but devious in body. He compares everything in life to food, but then at the same time, after eating heavy amounts of food, vomits it all back out again. He's an enigma in flesh, and one that will probably be the deciding factor in this ever-increasing circle of intrigue. Gloria and Winnie may not have the backing of the new chief on their investigation, but that won't stop them from digging deeper into this mystery. But, the question is, how much will they find, before they enter the danger zone and suffer the same consequences that Emmit and all the people he's touched so far. 8/10 Use that wealth to become invisible." I adore the abstract concept that this season of Fargo has gone for - last week had some heavy symbolism, something a lot of shows fear to use because it's not an audience grabber, but it does add some wisdom and colour to an otherwise flat story. This week's continues that symbolism with a narration provided by none other than Billy Bob Thornton, and an interesting theory that involves Gloria Burgle. That opening monologue was stunning, and such an original and compelling idea. A lot of movies and shows do have this feature in which a certain instrument is used only when a certain character appears on screen. To have it connected to a representative animal as well allows the audience to better describe the characters and their personalities.
Regarding Gloria, she seems to be having a constant battle with technology. This further expands on her technological ignorance, but also symbolically highlights that technology (or the passing of time) seems to be working against her. This leads me to believe that Noah Hawley is attempting to compare her to this robot from last week. A being that has never adapted to the surroundings around it, but has witnessed everything that has happened over time. Perhaps this is a way of telling us that Gloria is the truth-carrier, and as in the conclusion of that episode, she is the one who will deliver justice to the world. Following last week's meandering in Hollywood, the Narrow Escape Problem brings us back to the messy lives of the Stussy brothers, Varga and the Burgles of Minnesota. Except this time, the noose is tightening on the story, one in which the truth is finally coming out. Firstly, Ray is placed in an inevitable predicament when his relationship with Swango is unveiled at his workplace, forcing him to be suspended indefinitely. He may be in love, but his life is certainly taking a beating for someone who I have my suspicions about. She seems too devious to be doing all that she's doing just for reciprocated love. Whether my suspicions are revealed or not is left to be decided. Emmit's story is progressed well this week, with his right-hand man Sy now under the spotlight thanks to an inquisitive new law enforcer by the name of Winnie. Not only that, but Varga reveals his true intentions to Emmit at his own house after eating his own food. His speech about rich people is wonderful, giving us a flavour for the quality of his mind. This guy is more than just a powerful man who has enough money to remain invisible, but he is truly vile. For whatever reason, Varga regurgitates his food after every meal, something that could definitely be related to his mean-spirited attitude and his chiselled teeth. The show still hasn't sealed all the gaps yet - there's still a lot of open-ended commentary on the Russian connection, but it's clear Varga has far more secrets than the ones he's already revealed to his new business partner. But, now with Gloria finding a new ally in Winnie who has connected the same dots as she has, we could be looking at another nail-biting investigation that is as Fargo as it can be. Without the comic relief from Sy (Grandfather), who is genuinely laugh-out-loud funny, I don't think we could bear the tension that's growing in this wonderful drama. Fargo is still on excellent form. 8.5/10 I can help!" Fargo has always been known to break down the barriers of conventional television. In what is probably the most unique episode of Fargo to date (and somewhat eclectic), the writers gave us a full episode covering Gloria's investigation of her step-father's murder in Los Angeles. It's a slow-burner, but one that has so much symbolic meaning and sublime messages that it quite honestly doesn't matter. Even without a whiff of the Stussy brothers or Varga, we get a filler episode that we didn't know we need it.
I say filler, but in fact it was necessary to get a chance to meet possibly our most important character of the season, Gloria, who hasn't really been dominating the screen in Season Three as of yet. Clearly she's very like our previous protagonists Molly in Season One and Lou in Season Two. However, she also has a knack of her own - she's incredibly curious. A little too curious, you might say, considering her investigation leads her nowhere but to an explanation of why her step-father changed his name. It does, however, give clarity to the confusion of names. Apart from Gloria, the only other characters we really get to meet are Thaddeus and Howard, who are distinct opposites. Thaddeus seems like a generally nice person who finds himself in the worst mess when he's conned out of money by his supposed new employer, Howard Zimmerman, which leads him to hospitalise his now former employer. I'd call him an important part of the episode, mainly because he's the person who wrote this interesting novel, "The Planet Wyh". This is where the episode takes an eclectic turn and actually transforms into animation. Whilst a lot of people may find this off-putting, I really liked it. It puts me in mind of Cosmos: A Spacetime Oddyssey, where they used animation to show flashbacks into the past. In the same vein, this animation tells a wonderful story of pitiful robot who lives for millennia alone after losing his owner. This is Noah Hawley's typical trick of bringing in philosophical and scientific theory as an overarching message. And as we see in the last segment, this robot has a metaphorical connection to the box that Gloria finds in her apartment. This leads me to believe that this box may have some connection to the rest of the season, but it's just a theory at the moment. Being a physicist myself, I loved the science-fiction overtones. Plus, Howard's speech in the ward where Gloria was interviewing him about how particles spend ages traveling without interference, and then for one minute, they collide and show themselves in their true form. This is reminiscent of many of Hawley's characters who all seem to be acting up to the point where their lives are threatened and they show their true colours. It's an underlining message that even in the vast Universe, lives do cross, however improbable it might be. Some viewers may be put off by the fact that the episode provided no forward-movement for the introductory plot for the season, but it does have great character development, and in its own provides a standalone message with great quality dialogue and directing. Truly, I can't commend this show enough for changing the way television is made and visualised. If it keeps up this level of creativity, I won't be surprised to call it a masterpiece for the third season in a row. As an extra point, it was nice to hear McGregor, Coon and Thewlis provide voices for the animated characters - that was a nice touch, and very similar to how Martin Freeman provided the voiceover towards the end of the second season. 8.5/10 That's the problem with you Americans...you watch too many movies and you think the deal can always be changed...and it can't. We're partners now and that's all there is to it..." After last week's mix of intrigue and despair, this week's took a much slower and silent take on the world of Fargo. The element of dark comedy creeps in as well when you don't expect it and you don't know whether to laugh or whimper. The characters that Noah Hawley has introduced this year are very strong, and given that there's far less than last year, more chance to spend time with each one properly. Whether it's the Stussy brothers' opposing personalities, Gloria Burgle's quiet confidence or V. M. Varga's disgusting teeth, there's a colourful pallet of new faces to behold.
Unfortunately, despite taking it slow this time around, not enough time was given to Gloria's story, meaning that there's still a gaping hole of empathetic feelings still to fill between her character and the audience. The other characters, however, are given a good amount of screen time, with the Stussy brother feud getting a little out of hand, thanks to Sy's, perhaps formidable, loyalty to Emmit. Although brief, the introduction of Donny was pleasant, and may be the replacement comic relief character that Ted Danson left behind, but will never be equal. As with every season of Fargo so far, Hawley makes great use of the time zone he's chosen for his story. 2010 is an interesting time where technology has crossed a tall threshold through the digital age. With such an isolated town, as is evident with Gloria's complete lack of knowledge and love for computers, technology hasn't quite caught up with world. Numerous references are made throughout to the ignorance of an older generation who are perhaps a bit behind the times, but I do love the scene with Irv Blumkin as he attempts to use Google. It is made all the more ominous, however, when his picture is taken by the computer, leaving Varga's henchmen to dispatch of him for prowling too close to the dragon's den. With the opening premise set in East Germany in 1988, I imagine many keen eyes and ears will be looking and listening out for Russian references. There were a number, including a new character who shares the same name as the man in the first scene, Yuri. What connection they might have is left in the open at the moment, but Hawley no doubt has a few twists planned along the way. Nevertheless, he has a way about him to set bring out his characters in the most original methods possible. The final scene especially is pretty definitive, as we see how Emmit's financial decision may have cost him the integrity of his career as Varga now permanently (it seems) moves into his office. David Thewlis plays his deceptively malicious character with ease, and like Billy Bob Thornton and Bokeem Woodbine before him, his demeanour is filled with terrifying confidence that will turn anyone in his perimeter uneasy. The Principle of Restricted Choice isn't filled with wow factor, instead it concentrates on its characters with great precision. More from Gloria Burgle would be helpful, but I'm happy to see how this one pans out. We could be looking at another winning series for Fargo, as the plot threads begin to converge and diverge in the most ridiculous and effortless ways possible. I for one am very excited. 8/10 |
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October 2017
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