Fargo: Juxtaposition Of Uniqueness And Normalcy Essay

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The Juxtaposition Between Normalcy and Uniqueness in Fargo Joel and Ethan Coen are famous for making postmodern films that are wrought with juxtapositions. Perhaps it is their ability to create dichotomous characters, situations, and scenes that truly makes them postmodern filmmakers. Nevertheless, Fargo, is a prime example of how the Coen brothers combine elements that are seemingly opposites in order to not only provide texture and depth, but also create the basic intrigue that captures their audience. The main juxtaposition in Fargo is between the untraditional and the traditional. The Coen brothers’ characters are, when all is said and done, quite unique. They do not follow the traditional model of their respective roles. However, there is an overriding sense of normalcy throughout the movie. Thus, by juxtaposing the conventional and unconventional, the Coens are able to create a world that is entirely their own, but still maintain key aspects of the film noir genre; such as the ability of normal people to commit crimes and the notion that everyone is on their own. Marge Gunderson is, possibly, the best example of how the Coens use juxtaposition to both enrich the film as well as break it from traditional modernist ideals. This is evident as early as her introduction, which does not occur until half an hour into the film. The decision to introduce Marge, who ultimately is the film’s protagonist, so late is the first example of how she is used as a dichotomy and to let the audience (the perceptive audience, at least) know that she is not what she seems. Traditionally, the protagonist is introduced early in a movie so that the audience has a character they can latch onto emotionally and begin to empathize with. Therefore, by keeping the protagonist hidden for nearly the first third of the movie, the Coens are able to break from the traditional movie framework,

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