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Fargo
Winner of the Academy Award as the best Original Screenplay of 1996.
Set in the midst of the bleak midwinter snow drifts of the American Midwest, Fargo is a story of murder and mayhem.
Stylistically, Fargo -in its observation of a specific Minnesota community-is at the opposite end of the spectrum from the post-modernism of The Hudsucker Proxy and the baroque hallucinations of Barton Fink . Fargo exposes the dark side of existence, but the grimness of the tale is alleviated by the laconic humor with which the characters greet their fates. The plot is executed with brilliance, and yet the writing also reveals a humanity at its core.
Set in the midst of the bleak midwinter snow drifts of the American Midwest, Fargo is a story of murder and mayhem.
Stylistically, Fargo -in its observation of a specific Minnesota community-is at the opposite end of the spectrum from the post-modernism of The Hudsucker Proxy and the baroque hallucinations of Barton Fink . Fargo exposes the dark side of existence, but the grimness of the tale is alleviated by the laconic humor with which the characters greet their fates. The plot is executed with brilliance, and yet the writing also reveals a humanity at its core.
118 pages, Paperback
First published July 25, 1996
4 people are currently reading
879 people want to read
About the author
Joel Coen
39 books79 followersJoel Coen and Ethan Coen, known together professionally as the Coen brothers, are four-time Academy Award winning American filmmakers. For more than twenty years, the pair have written and directed numerous successful films, ranging from screwball comedies (O Brother, Where Art Thou?, Raising Arizona, The Hudsucker Proxy) to film noir (Miller's Crossing, Blood Simple, The Man Who Wasn't There, No Country for Old Men), to movies where genres blur together (Fargo, The Big Lebowski, and Barton Fink). The brothers write, direct and produce their films jointly, although until recently Joel received sole credit for directing and Ethan for producing. They often alternate top billing for their screenplays while sharing film credits for editor under the alias Roderick Jaynes. They are known in the film business as "the two-headed director", as they share such a similar vision of what their films are to be that actors say that they can approach either brother with a question and get the same answer.
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Displaying 1 - 30 of 38 reviews
January 7, 2019
As expected, I loved reading this script because I absolutely love the film of which it is the script. At this point, I have seen Fargo something around at least fifteen times and I simply never tire of it. It’s definitely among my top 3-5 favourite films (which is saying something considering how many films I watch and how many favourites I have), and at this point much of the dialogue and many of the visuals have been memorized by me. Reading this script is so much fun and a great lesson for anyone interesting in writing screenplays or really just writing in general. The dialogue here is so perfectly constructed throughout, every character is fleshed out in both obvious and subtle ways, many of which are revealed exclusively in how they speak. The clashing personalities and mannerisms of the many memorable characters populating the film explode into bloody violence, black humour, and unique drama. There are two or three scenes here that were not included in the final film, and those were fascinating, if brief. They were not essential and, for pacing reasons, it may be wise that the Coens did not include them, but it’s still fun to see a little bit more of the characters if only so briefly. Also, there’s a rather interesting foreword by Ethan Coen that, among whatever else, is certainly...”Coenesque.”
November 17, 2015
The simplest of noir plots, really, that takes up about half of the text. What surprises me every time I read the screenplay is how much of the text is devoted to essentially inane dialog. Of course, those are the humorous scenes in the movie, but when you read it through, and think about writing those lines, it's hard to fathom writing so much repetition and inanity and thinking oh yeah this is great this is gonna be funny. Well, the acting in the movie was phenomenal, totally sold those lines. Still, it's all there in the text.
February 9, 2011
The Coen brothers are known for their realistic dialog matching their outlandish characters so well that it's difficult to believe they are fiction. This screenplay starts with a 'spoiler' stating that this actually happened, the names have been changed to protect those involved. However, this is merely a device to grab the audience and force them into a realistic world. Jerry Lundegaard is the first main character the reader knows of. He is a sly and scheming individual that is trying to fake his wife's kidnapping to make money. The audience is not actually introduced to Margie until about twenty-pages in, often the point where the inciting incident takes place in a screenplay. Margie, pregnant, married and expecting, is a police officer that starts tracking down Jerry. The dark story with many comedic elements expands as Margie investigates the murders committed around the kidnapping. An interesting point in the screenplay is where Margie hones in on the killer cautiously walking through a snow-blasted forest. There is a moment where the reader feels that Margie may get killed at this point, but because she is the stern and unchanging protagonist, Joel Coen could not kill her off; he had to maintain a certain level of pay-off for good. This screenplay stands as a strong piece of literature because of its ability to form a new plot outline that shies away from the traditional three-act structure.
September 21, 2014
Currently watching kısmı da olsaydı keşke: Dizisi dehşet güzel, tavsiye ederim.
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December 8, 2018Watched the original movie, then series, now a script, what next?
October 3, 2020
This is the script version of the story. Other than I question the format it reads like the movie. This was more of a study for my masters than any other reason. Still as entertaining as the film
May 24, 2025
همهچیز از یک تصمیم ساده شروع میشود؛ تصمیمی به سادگی یک گفتوگوی کوتاه در رستورانی سرد، جایی میان برف و اسکاندیناویِ امریکای شمالی. فارگو—چه فیلمش و چه فیلمنامهاش—نه داستان جنایت است و نه فقط طنزی سیاه، بلکه روایت خنثیِ بیرحمیست. تراژدیایست که خودش را جدی نمیگیرد، ولی دقیقاً از همین بیتفاوتی ضربه میزند.
در بطن ماجرا، جری لاندگارد است؛ مردی معمولی، بازنده، که حقیرتر از آن است که ضدقهرمان باشد، ولی به اندازهی کافی بیهویت هست که شر را به خانهاش دعوت کند. کوئنها با بیرحمی و شوخطبعی، جنایتی را ترسیم میکنند که از دل نیاز، حماقت و بیعرضگی میجوشد، نه از شر ذاتی. اینجا خبری از قاتلهای خونسرد و فیلسوفمسلک نیست؛ آدمها گیجاند، درماندهاند و آدم میکشند چون نمیدانند با زندگیشان چه کنند.
فارگو با پلیسی باردار و مهربان به اسم مارج گاندِرسن به تعادل میرسد. او نماد اخلاق است، اما نه اخلاقی آرمانی و پرطمطراق؛ بلکه اخلاقی زمینی، ساده، بیادعا، که از درون برف و تخممرغ و محبت میآید. مارج باور دارد که آدمکشتن اشتباه است، و برای همین آن را با تعجب نگاه میکند. نه با خشم، نه با تئوریهای فلسفی، بلکه فقط با سؤالی کودکانه: «برای پول؟ واقعاً؟»
برفِ پایانناپذیرِ داکوتا در فارگو فقط پسزمینه نیست؛ خودش شخصیت است. همهچیز را میپوشاند، میبلعد، بیصداست، و بیاحساس. و آدمها هم شبیه همین برف شدهاند؛ سفید، ساکت، خفه. حتی خشونتشان صدایی ندارد؛ تفنگی در دستِ آدمی با کاپشن معمولی و صورت بیحالت، که جنازهای را توی دستگاه چوبخُردکن فرو میکند، نه برای لذت، فقط چون مجبور است.
فارگو داستان دنیاییست که در آن جنایت نه فریاد دارد، نه منطق، و نه هیجان؛ فقط زمزمهایست در باد سرد، که از لای درزهای پنجرهی خانههای چوبی عبور میکند و در ذهن آدم مینشیند. فیلمنامهاش مثل خود فیلم، موجز، خشک و خونسرد است؛ بدون تعارف، بدون تلاش برای ژست گرفتن. و همین است که ترسناک است.
در بطن ماجرا، جری لاندگارد است؛ مردی معمولی، بازنده، که حقیرتر از آن است که ضدقهرمان باشد، ولی به اندازهی کافی بیهویت هست که شر را به خانهاش دعوت کند. کوئنها با بیرحمی و شوخطبعی، جنایتی را ترسیم میکنند که از دل نیاز، حماقت و بیعرضگی میجوشد، نه از شر ذاتی. اینجا خبری از قاتلهای خونسرد و فیلسوفمسلک نیست؛ آدمها گیجاند، درماندهاند و آدم میکشند چون نمیدانند با زندگیشان چه کنند.
فارگو با پلیسی باردار و مهربان به اسم مارج گاندِرسن به تعادل میرسد. او نماد اخلاق است، اما نه اخلاقی آرمانی و پرطمطراق؛ بلکه اخلاقی زمینی، ساده، بیادعا، که از درون برف و تخممرغ و محبت میآید. مارج باور دارد که آدمکشتن اشتباه است، و برای همین آن را با تعجب نگاه میکند. نه با خشم، نه با تئوریهای فلسفی، بلکه فقط با سؤالی کودکانه: «برای پول؟ واقعاً؟»
برفِ پایانناپذیرِ داکوتا در فارگو فقط پسزمینه نیست؛ خودش شخصیت است. همهچیز را میپوشاند، میبلعد، بیصداست، و بیاحساس. و آدمها هم شبیه همین برف شدهاند؛ سفید، ساکت، خفه. حتی خشونتشان صدایی ندارد؛ تفنگی در دستِ آدمی با کاپشن معمولی و صورت بیحالت، که جنازهای را توی دستگاه چوبخُردکن فرو میکند، نه برای لذت، فقط چون مجبور است.
فارگو داستان دنیاییست که در آن جنایت نه فریاد دارد، نه منطق، و نه هیجان؛ فقط زمزمهایست در باد سرد، که از لای درزهای پنجرهی خانههای چوبی عبور میکند و در ذهن آدم مینشیند. فیلمنامهاش مثل خود فیلم، موجز، خشک و خونسرد است؛ بدون تعارف، بدون تلاش برای ژست گرفتن. و همین است که ترسناک است.
March 30, 2008
By way of review, I'll quote from "The House Next Door" blogger Matt Zoller Seitz's assessment of Frances McDormand's performance from the film:
"As pregnant policewoman Marge Gunderson, McDormand is a turtle with a badge and a Holden Caulfield hat, waddling around snowy vistas, calmly demanding that everyone she encounters -- from scumbag criminals to lovelorn ex-classmates -- be as honest, dignified and professional as she is. ('I'm not sure I agree with you a hundred percent on your police work, there, Lou.') Yet McDormand's so warm, so idiosyncratic, that Marge never comes across as a kooky scold; she makes the woman's carved-from-marble personality traits seem an outgrowth of Marge's worldview rather than a grab-bag of eccentricities. The character's decency seems to have been self-constructed rather than inherited; that makes Marge's final condemnation of Peter Stormare's murderous felon less a moral-of-the-story monologue than a vindication of bourgeois values that modern Hollywood treats as slave chains. 'There's more to life than a little money, you know,' Marge says. 'Don't you know that? And here ya are, and it's a beautiful day. Well, I just don't understand it.' For Marge, goodness is freedom."
That nicely sums up, not only McDormand's performance, but also Joel and Ethan Coen's brilliant story and screenplay.
"As pregnant policewoman Marge Gunderson, McDormand is a turtle with a badge and a Holden Caulfield hat, waddling around snowy vistas, calmly demanding that everyone she encounters -- from scumbag criminals to lovelorn ex-classmates -- be as honest, dignified and professional as she is. ('I'm not sure I agree with you a hundred percent on your police work, there, Lou.') Yet McDormand's so warm, so idiosyncratic, that Marge never comes across as a kooky scold; she makes the woman's carved-from-marble personality traits seem an outgrowth of Marge's worldview rather than a grab-bag of eccentricities. The character's decency seems to have been self-constructed rather than inherited; that makes Marge's final condemnation of Peter Stormare's murderous felon less a moral-of-the-story monologue than a vindication of bourgeois values that modern Hollywood treats as slave chains. 'There's more to life than a little money, you know,' Marge says. 'Don't you know that? And here ya are, and it's a beautiful day. Well, I just don't understand it.' For Marge, goodness is freedom."
That nicely sums up, not only McDormand's performance, but also Joel and Ethan Coen's brilliant story and screenplay.
October 1, 2010
I want to learn more about reading screenplays as literature, so I thought I would start with one of the greatest films of the last 20 years, the Coen brothers' masterpiece, Fargo. Having seen the film several times, it was easy for me to visualize the action as it unfolded, but what I really found fascinating about reading this particular piece was the beautifully concise language Coen used for direction. Furthermore, there is a lot more to this particular film than meets the eye, and when I read the screenplay I came to appreciate some of the symbolism and imagery much more. The short, precise actions written by the Coens are almost poetic as they capture, not only the motion of the events portrayed, but the essence of human nature.
January 2, 2012
This study in quirky personalities caught up in murder is one of the best twisted story plots to come along in recent years. Surviving the harsh Dakota winters is rough, but throw in drama, deceit and duplicitous behavior and we may have to wonder, Who will get out alive?
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April 30, 2008در صورت تمایل، جهت مشخصات فیلمی که بر اساس این کتاب ساخته شده است؛ میتوانید از لینک زیر استفاده بفرمایید
http://www.imdb.com/title/tt0116282
June 29, 2025
Fargo by Ethan and Joel Coen
The only shortcoming of this brilliant chef d’oeuvre is that some characters are too stupid to believe
“Oh, yeah?
Oh yeah!”
If in the Reservoir Dogs it was calculated that protagonist say fuck or another expletive every minute, in Fargo there is an “oh, yeah” every other…oh, fuck it!...way, way too often that is uttered here.
Apart from that, Fargo is an absolute masterpiece.
And even my silly attack on the film is pointless and wrong if we only consider the American 2016 elections.
The primitive, senseless troglodytes from Fargo have been voting in 2016 for someone who is qualified to watch the parking lot in Brainerd.
Furthermore, an unbelievable ninety per cent are happy with the attacks, monstrosities, Stormy Daniels, grabbing pussy, Russia collusion, parade and tyrant dreams, daily calamities that have been revealed, leaked, tweeted or just broadcast on the air often from the White House.
So…oh yeah?...oh yeah!
Jerry Lundegaard aka William H. Macy is a car salesman who has financial troubles but also a wondrous plan.
He hires two criminals to kidnap his wife, who will be released after his rich father-in-law pays the ransom.
This is the premise but it all goes wrong, first because all those involved are Trump voters, except perhaps the clever police officer.
Fargo is a hilarious comedy and not a thriller, in spite of the murders committed early on in the game.
After the criminals – one of them played perfectly by Steve Buscemi- take Jerry’s wife from her home, the law stops them.
Many others follow the first aggravating mistake of not putting registration plates on a car used in a felony; let us just mention the one where one killer is off in the neighborhood bragging about his murdering people.
When the police officer refuses to take the bride, the crazier of the kidnappers kills him and then another two personages that happened to be driving by and hence becoming witnesses of the murder.
Wade Gustafson is the father-in-law and boss of Jerry, who works in his car dealership, where he has some amusing scenes.
Gustafson is a feral, loathsome man who has however an understanding for the flawed character of his son in law.
The older man is the one who has to pay the ransom and he is adamant that he needs to be involved.
However, his insistence, foolishness and determination will get him into serious trouble with Carl Showalter.
Frances McDormand- nominated and probably the n umber one favorite in the Oscar’s race this year, 2018- portrays Marge Gunderson, the pregnant sheriff that has to find the killer or killers responsible for the increasing number of murders.
She has won the Academy Award for Best Actress in a Leading role for this excellent performance.
In addition, the film went on to win the Oscar for Best Writing, Screenplay and was nominated for a further five awards…
Best Picture, Best Actor in a Supporting Role- William H. Macy, Best Director- Joel Coen and two other.
As stated, the only misgiving seemed to be in regards with the too low IQ of most of those involved.
However, when most of those living in the Middle America are so enchanted with a buffoon, their IQ and EQ levels are low.
In addition, this explains the fact that a lot of what goes on, unbelievable as it may look, is in fact veridical.
Fargo is an august work of art that exposes stupidity and makes us laugh, even if there are bodies on the floor and in the…wood chipper
The only shortcoming of this brilliant chef d’oeuvre is that some characters are too stupid to believe
“Oh, yeah?
Oh yeah!”
If in the Reservoir Dogs it was calculated that protagonist say fuck or another expletive every minute, in Fargo there is an “oh, yeah” every other…oh, fuck it!...way, way too often that is uttered here.
Apart from that, Fargo is an absolute masterpiece.
And even my silly attack on the film is pointless and wrong if we only consider the American 2016 elections.
The primitive, senseless troglodytes from Fargo have been voting in 2016 for someone who is qualified to watch the parking lot in Brainerd.
Furthermore, an unbelievable ninety per cent are happy with the attacks, monstrosities, Stormy Daniels, grabbing pussy, Russia collusion, parade and tyrant dreams, daily calamities that have been revealed, leaked, tweeted or just broadcast on the air often from the White House.
So…oh yeah?...oh yeah!
Jerry Lundegaard aka William H. Macy is a car salesman who has financial troubles but also a wondrous plan.
He hires two criminals to kidnap his wife, who will be released after his rich father-in-law pays the ransom.
This is the premise but it all goes wrong, first because all those involved are Trump voters, except perhaps the clever police officer.
Fargo is a hilarious comedy and not a thriller, in spite of the murders committed early on in the game.
After the criminals – one of them played perfectly by Steve Buscemi- take Jerry’s wife from her home, the law stops them.
Many others follow the first aggravating mistake of not putting registration plates on a car used in a felony; let us just mention the one where one killer is off in the neighborhood bragging about his murdering people.
When the police officer refuses to take the bride, the crazier of the kidnappers kills him and then another two personages that happened to be driving by and hence becoming witnesses of the murder.
Wade Gustafson is the father-in-law and boss of Jerry, who works in his car dealership, where he has some amusing scenes.
Gustafson is a feral, loathsome man who has however an understanding for the flawed character of his son in law.
The older man is the one who has to pay the ransom and he is adamant that he needs to be involved.
However, his insistence, foolishness and determination will get him into serious trouble with Carl Showalter.
Frances McDormand- nominated and probably the n umber one favorite in the Oscar’s race this year, 2018- portrays Marge Gunderson, the pregnant sheriff that has to find the killer or killers responsible for the increasing number of murders.
She has won the Academy Award for Best Actress in a Leading role for this excellent performance.
In addition, the film went on to win the Oscar for Best Writing, Screenplay and was nominated for a further five awards…
Best Picture, Best Actor in a Supporting Role- William H. Macy, Best Director- Joel Coen and two other.
As stated, the only misgiving seemed to be in regards with the too low IQ of most of those involved.
However, when most of those living in the Middle America are so enchanted with a buffoon, their IQ and EQ levels are low.
In addition, this explains the fact that a lot of what goes on, unbelievable as it may look, is in fact veridical.
Fargo is an august work of art that exposes stupidity and makes us laugh, even if there are bodies on the floor and in the…wood chipper
June 18, 2021
Reread and watched the film for the one millionth time.
The script is a masterclass in minimalism. Minimal dialogue. Few details apart from the most necessary and basic to advance the story. Like Beckett, the fatalism isn't in what is said--or even done per se--but what is *chosen*. Bad choices lead to horrible ends.
Every character--except Marge and her husband--make choices that are none too wise. The choices we make will get us hurt. And before one says the mother and son are innocent. Perhaps. But consider this: The son disobeyed his mother and the mother married... Jerry. Marge married Norm, the painter!
Though people love the Big Lebowski (it's okay), I still maintain their masterpiece is Fargo. A haunting tribute to sin and punishment. And one of the few Coen Brothers story where the cosmic order punishes the guilty and rewards the good.
The script is a masterclass in minimalism. Minimal dialogue. Few details apart from the most necessary and basic to advance the story. Like Beckett, the fatalism isn't in what is said--or even done per se--but what is *chosen*. Bad choices lead to horrible ends.
Every character--except Marge and her husband--make choices that are none too wise. The choices we make will get us hurt. And before one says the mother and son are innocent. Perhaps. But consider this: The son disobeyed his mother and the mother married... Jerry. Marge married Norm, the painter!
Though people love the Big Lebowski (it's okay), I still maintain their masterpiece is Fargo. A haunting tribute to sin and punishment. And one of the few Coen Brothers story where the cosmic order punishes the guilty and rewards the good.
November 26, 2018
First of all, the story is mainly about desperation. The lead man was in great need of money he got to a point that he would get the money by kidnapping his own wife through two criminals who happens to be aimless in life other than getting the money. Two characters contain the quality of too much violence in them. On the other side, we see a character that, even she is pregnant, is doing her best to serve in her job as a policewoman. This character also imposes the virtue of care to everyone around you. So, this story also perfectly blends intense violence with pitch humor suited to the supposedly "dark" story.
February 23, 2023
How I'd never read one of the most perfect scripts ever written for one of my all-time favorite films is beyond me. But I am so grateful and lucky that my friend Nick gifted this to me for my birthday in December. Maybe you all should think about that next time you forget to get me something!
Anyway this is just...so full. It's about race, class, the Midwest, diaspora, America, violence, physical Chaplinesque comedy, the mob, Judaism....just unfuckingbelievably dark and dense and brilliant! The best thing the Coens ever made - and they've made a million amazing things.
And it has an intro by Joel, which I didn't know - that's worth picking this up on its own!
Anyway this is just...so full. It's about race, class, the Midwest, diaspora, America, violence, physical Chaplinesque comedy, the mob, Judaism....just unfuckingbelievably dark and dense and brilliant! The best thing the Coens ever made - and they've made a million amazing things.
And it has an intro by Joel, which I didn't know - that's worth picking this up on its own!
January 18, 2025
Fargo is one of my favorite films. Screenplay won an oscar in 1996. and it shows. It deserved praise it got. Screenplay is fantastic and really capture esence of an story. Coen brothers are master filmmakers but even beter script writters.
July 29, 2018
Oh, wow. I took an instant liking to the Coen brothers when I was introduced to them last year. This was a beautiful film to read. So many have said this before me, but I feel compelled to still say that their framing is a treat. Each frame conveys a story, very often larger than what's happening inside that frame.
November 22, 2018
This book is like that saying" Oh what a lie we weave when we try to decełve
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December 29, 2019I give this script a yah!
yah?
yah!
…oh yah
Don’t be silly.
Ya
Don’t be silly
yah?
yah!
…oh yah
Don’t be silly.
Ya
Don’t be silly
October 29, 2020
This is a true story written by the Coen Brs. About a murder of a rich wife. Excellent suspense.
February 10, 2021
A masterpiece.
Read
August 7, 2021Not available on GoodReads, but I’ve also read
Semi-Pro
Nebraska
Semi-Pro
Nebraska
October 3, 2021
Ridiculously tight and economical screenplay, bleak and warm and funny AF in equal measure. Great screenplay to learn from.
March 1, 2022
very midwestern
January 12, 2023
I enjoyed the script more than the movie—lots to learn in terms of dialogue and withholding information. Also, Marge is extra charming here. I really wish this website had half-stars... 3.5
June 6, 2025
One of my favorite movies. You know the script is brilliant when you can read it like a novel.
December 24, 2024
I think watching the filmed parts with the actors would really sell this one.
July 20, 2016
Amazing. It's pretty incredible to see how much of this movie is in seemingly senseless and unimportant dialogue. It's even more incredible to see how that same dialogue sets this standard murder mystery apart.
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April 4, 2009در صورت تمایل، جهت مشخصات فیلمی که بر اساس این کتاب ساخته شده است؛ میتوانید از لینک زیر استفاده بفرمایید
http://www.imdb.com/title/tt0116282
Displaying 1 - 30 of 38 reviews