Fargo has always been my favorite Coen movie before No Country for Old Men. I was heartbroken to hear that it was made into an American drama. Fortunately, I was looking forward to seeing Billy Bob Thornton starring in it.
The quality control is very good. The framework and details of the first episode are basically borrowed from the original film. Starting from the second episode, I slowly fill in my own things, and gradually have a personalized plot trend, a full character image, and a complicated relationship. The so-called flesh and blood, the start can be said to be full marks, and did not use an episode of a new character to force the expansion of the script to "borrow chickens and eggs" to expand the plot, the production is very careful.
The highest level of character creation can be briefly summarized as "flesh and flesh" in four words. This rule is unparalleled in ancient and modern times. Among them, blood is the narrative motivation, to protect the story from death, and flesh to shape the personality to make the image plump.
The most successful character in Fargo is the magical stick killer played by Billy Bob Thornton. It not only satisfies the requirement of "flesh and flesh", but the script also gives the character a strong personality contradiction-life and death, killing between the identity of the killer and the priest's disguise The binary opposition to salvation increases the depth of the character, although this depth is largely achieved by its mystery.
The most unsuccessful character was the female police officer Molly. Molly became the only narrative driving force for the police to solve the case. The script puts great narrative pressure on the character. This is usually not a good thing. For a suspenseful drama with complex clues , The main narrative impetus should be evenly distributed to several important roles, so that on the one hand, conflicts between the roles can be established, and on the other hand, it is convenient to control the rhythm. The police solving the case is the main narrative driving force of the show. It is inevitable that such an important narrative function is built on the subjective initiative of a character. That is, there is blood, but not enough flesh to stand up. Of course, if the actor himself can show strong screen tension, he can also save the character to a certain extent by giving the image a personalized character. Unfortunately, Allison Tolman happens to lack the individualized expressiveness and fully exposes himself in this work. Performance shortcomings. This is why many viewers hate Molly when watching Fargo: because the narrative needs to force the characters to unnaturally assume the narrative-oriented function, the audience dislikes this "unnatural", especially when compared with Thornton. It feels more obvious.
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