In this paper for the seminar “Outstanding Film Directors” I want to analyze two movies by Joel and Ethan Coen, namely "Fargo" (1996) and "The Big Lebowski", its successor from the year 1998.
After introducing the movies along with their characters, storylines, symbolism, and other relevant issues, I am planning on pointing out to what extend they are similar and typically ‘Coen-esque’, and how they differ. Special attention will be paid to the kidnapping-theme used in both movies, to the display of violence, and to the stylistic devices, especially to those that define the various genres (detective story, western, etc.) utilized by the directors. The way the Coens play with the expectations of their viewers and critics is also supposed to be a topic of this work.
However, before I begin my paper, I would like to introduce the directors to the reader. Joel and Ethan Coen, often referred to as the Coen brothers or the “two-headed director”, were born in St. Louis Park, Minnesota in 1954 and 1957 respectively. While Joel is always credited as the director, Ethan only appears as the producer. In reality though, both of them write, direct, and produce their movies, and also do the cutting, which might be one reason for their aforementioned nickname. Moreover, this fact underlines the humongous influence they have on the resulting product, as all the crucial production steps are carried into execution by them. It also explains the perfectionism to which they attach great importance. As the Coens have a clear vision of their movie-to-be and thus work hard at the preproduction, they will never accept improvisation. Rumor has it that every ‘yah’ in Fargo was actually scripted (Kilzer, p. 167). It is common knowledge in the business that ad-lib performances are not something these two directors appreciate.
Little is known about their private life because the Coen brothers set value on keeping it out of the public eye. But since they do not include self-depictions or references to their lives in their films, even though many critics suppose so, this fact will not prevent the subsequent discussion of the two named movies.
Table of Contents
Prologue
1. Fargo – A Homespun Murder Story
2. The Big Lebowski – “That rug really tied the room together…”
3. A Concluding Comparison
Epilogue
Research Objectives and Themes
This academic seminar paper examines the thematic parallels and stylistic differences between the films Fargo (1996) and The Big Lebowski (1998) by Joel and Ethan Coen, focusing particularly on their shared use of the kidnapping motif and genre conventions.
- Analysis of the "Coen-esque" directorial style and its evolution.
- Examination of character development and the role of regional settings.
- Investigation of the "kidnapping" theme as a narrative catalyst.
- Comparison of genre influences, specifically detective stories and westerns.
- Evaluation of how violence is depicted and its consequence on character arcs.
Excerpt from the Book
1. Fargo – A Homespun Murder Story
In Fargo, a rather bland loser named Jerry Lundegaard, who works as a car dealer, is trying to establish his own existence by building a parking lot. When his overwhelming father-in-law Wade Gustafson refuses to lend him the necessary money, Jerry cooks up a plan that involves two gangsters named Gaear and Carl, whom he hires to kidnap his wife Jean. The ransom of 80,000 dollars to be paid by her father will provide for the parking lot, so he thinks. The kidnappers, though, maneuver themselves into different kinds of trouble that result in several dead bodies. Thus, the pregnant police officer Marge Gunderson comes into play. Meanwhile, the situation worsens for Jerry as he has to deal with threats from the kidnappers, a stubborn Wade insisting on playing the hero, and finally, two interrogations by Marge. Hence, he flees only to be nonetheless arrested in the end of the film. In the meantime, Gaear and Carl seek shelter in their hideout, where Gaear kills Jean and later on also Carl. While being occupied with stuffing the two bodies into a wood chipper, he is being approached by Marge, who finally arrests him. The movie ends with a tired Marge crawling back into her husband’s bed.
Summary of Chapters
Prologue: Introduces the Coen brothers as directors and outlines the objective of comparing their films Fargo and The Big Lebowski.
1. Fargo – A Homespun Murder Story: Analyzes the plot and character motivations in Fargo, highlighting Marge Gunderson's role and the depiction of the Minnesota landscape.
2. The Big Lebowski – “That rug really tied the room together…”: Explores the narrative structure of The Big Lebowski, focusing on the Dude's character and the film's absurdist elements.
3. A Concluding Comparison: Synthesizes the commonalities and contrasts between both films, specifically regarding genre usage and thematic outcomes.
Epilogue: Concludes that while both films use the kidnapping motif, they lead to divergent moral outcomes for their respective protagonists.
Keywords
Coen brothers, Fargo, The Big Lebowski, kidnapping, film analysis, genre, violence, Marge Gunderson, The Dude, cinematography, American cinema, character study, narrative structure, irony.
Frequently Asked Questions
What is the core subject of this seminar paper?
The paper performs a comparative analysis of two prominent films by Joel and Ethan Coen: Fargo and The Big Lebowski.
What are the central themes explored in the work?
The main themes include the kidnapping motif, the use of genre conventions like the detective story and western, and the directors' specific stylistic approach to storytelling.
What is the primary objective of the author?
The objective is to point out to what extent the two films are similar, how they are "Coen-esque," and in what ways they differ in their realization of shared tropes.
What methodology does the author employ?
The author uses a qualitative film analysis approach, examining characters, storylines, symbolism, and stylistic devices within the context of the directors' broader body of work.
What topics are covered in the main section?
The main sections cover plot summaries, character archetypes (such as the pregnant detective or the aging hippie), the representation of violence, and the role of "disturbing interludes."
Which keywords define this paper?
Key terms include Coen brothers, kidnapping, film analysis, narrative irony, and character development.
How does the kidnapping motif function differently in the two movies?
In Fargo, the kidnapping is the central, tragic anchor of the plot, whereas in The Big Lebowski, it functions as a "McGuffin" to propel the protagonist through an odyssey of bizarre situations.
What conclusion does the author reach regarding the "moral" of these films?
The author concludes that while the Coen brothers typically avoid traditional moral lessons, Fargo serves as a cautionary tale about the consequences of greed, while The Big Lebowski embraces the unfairness and absurdity of the world.
- Quote paper
- Anonym (Author), 2005, A Coen-Kidnapping - One Topic, Two Realizations, Munich, GRIN Verlag, https://www.grin.com/document/47220
