Three Billboards Vs Fargo – Iambic Pentameter On Black Comedy
(Coenesque Vs Coen)
Two words: Frances McDormand
Oh, you betcha, both movies are awesome indeed, but just imagine their basic point dodging with no Mrs. Frances, who happens to be the best character actress out in the land of pred… out in Hollywood;
What we’re trying to say is, when it comes to casting in these two, just pick one of the following tenacious trios:
a) Frances McDormand, Sam Rockwell, and Woody Harrelson;
b) Frances McDormand, Steve Buscemi, and William H. Macy;
And you shall acquire the knowledge of the why.
1. “Three Billboards Outside Ebbing, Missouri“: A Cute Storytelling Trope –
The story being: A mother demanding belated justice.
In Search of a John Wayne reference? (pun intended)
Aren’t you in luck, there happens to be one in “Léon: The Professional”.
But when it comes to the movie you’ve clicked to read about, Frances McDormand drew the inspiration for her character from none other than John Wayne himself, and that goes for his posture as much as does for his famous hips-don’t-lie sorta walk.
We might even push our luck some further and try to sound deep and well-read by calling this role of hers a “contemporary Hamlet”, one who dares to provoke town authorities by making a (billboard) scene (much like Prince Hamlet who, at one point, asks a group of actors to “make a scene” and thus provoke the King’s reaction).
Which brings us to point two: her bitterness hand-in-hand with her cynicism; her impulsivity on top of her depression; her bluntness door-to-door with her rebellion – are all genuine traits of every director’s literary man crush, Prince Hamlet.
And point three: Martin McDonagh, a.k.a., he who wrote and directed this movie, started out as a playwright.
Alas, is anything rotten in the state of Missouri, or is it all just mere fate?
Let us know in the comments below.
2. “Fargo”: A Cute Storytelling Trope –
The story being: Quirkier-than-life police investigation.
When it comes to its strong lead, the layered, well-developed, and multi-dimensional – the one and unstoppable His Dudeness …
Wait, what the… Turn off that mic, for God’s… Where’s that script?!
Ok, here we go from the start – three, two –
So, this one is where all they do is eat, talk about eating, and reply back with:
“yah”, “you betcha”, and “aw, geez”.
But, strangely enough, there is a story to it.
Here’s what’s interesting – there’s something called the “Minnesota Nice” – a phenomenon bearing found in locals.
It appears to be manifested in language by the use of a funny tune and agreeable nodding.
Ultimately, true Minnesota spirit is all about agreeableness, well-being, and harmonious living alongside fella humans.
This frame of mind has been in “Fargo” exaggerated for effect, placing“Minnesota Nice” right next door to living hell of crime and bloodshed. And, frankly enough, what “Fargo” proudly shares with “The Chronicles of Narnia” is its dead-reliable factuality of events taking place. It even says so in the opening credits.
3. But, where do “Three Billboards Outside Ebbing, Missouri” and “Fargo” actually meet?
No, it’s not the funny dialect of small-town America.
It’s not even the risk-taking and strange formula of indie cinema.
Nor is it that both movies could just as well and for the sake of it be animated.
There’s no escaping the fact that each set of directors takes a different train of thoughts:
The Coen brothers are the little weirdos in the corner of the magical fairytale Hollywood land playground, and Martin McDonagh is theater’s “enfant terrible.”
You think that train eventually arrives at a one-station universe?
It seems to us that who is crucial here is Frances McDormand alone, given she so obviously plays her same old one character both times, to only be facing your polar everyday contexts.
In the first she hates police, in the second she is police; in the first, her life is falling apart, in the second it is blooming; in the first, she has lost a child, and in the second she is about to give birth to one, and so on and so forth.
Having that in mind and not giving up on our intention to exploit Shakespeare in order to come out as we have a point, we have come to the conclusion that the “Three Billboards” and “Fargo” movies represent your household black-comedy equivalent to Shakesperian tragedy and comedy, respectively. If you ask us, that is. Shakespearian tragedy because of her flaw that leads to her downfall, foul revenge, and issues of (mis)fortune. Shakespearian comedy as a profound drama full of irony and whimsical wordplay.
4. After having completed your Saturday cinema treat, decide if you can who you’d rather identify as:
a) the cinephile who goes on to rent three billboards that spell out:
“Watching While Artistic” “And Still No Nudity?” “How Come, Chief Goode Cinema? ”
b) the cinephile who packs their bags the minute they hear of a certain spatula hunt – and don’t go all what spatula on us, yah, you’ll know what spatula when you see the movie;
FYI – these movies really inspired people doing this stuff.
5. But what if you only get to pick one of these two?
Fargo. Pick “Fargo”.