Fargo - Season 3 Review

Fargo (season 3)       - review rating (4/5)

Cast : Ewan McGregor, Carrie Coon, Mary Elizabeth Winstead, David Thewlis

Written by Noah Crawley and others

Review by Zulfiqar

            The basic template of Fargo has been set since the first season. It’s simple. And so, utterly complex to plot. It has two storylines or preferably three. These lines coincide by accidents, while an innocent cop goes about the case like a voyage in the dark. The thing which is most predictable about the plot is its unpredictability, as it surely coming.

            But the main thing which gels the whole scenario is the quaint atmosphere of the ice smothered localities of Minnesota. Along with the scenic geographical aspect, the series has a background of simple citizenry of Northern parts of the country, which is untouched by the guile of the world. Probably that is the aspect which makes Emmit Stussy (Ewan McGregor), the lead here in this story, a confused mess of a millionaire, who is finding acquainting himself with vile values as a revelation. He had made a fortune with his parking lots business, but finds sharing it with his younger brother, Ray Stussy (Ewan McGregor again), a not so-easy feeling. His partner, Sy Feltz, basks in this mild enmity further agitating the filial difference. Ray, a down-on-luck probation officer, desires a stamp, which he thinks is his, from his brother because it might have been the reason for the latter’s riches. He plots to steal it by blackmailing one of his parolee (Scoot McNairy). Ray’s Fiancee, Nikki Swango (Mary Elizabeth Winstead) makes up for the loss of criminal imagination But then a wolf enters the plot, a VM Varga, a bulimic fiend of an omniscient corporate villain, who wants to use Emmit’s company as a front to do his nefarious activities. He has a Cossack and an Asian fellow as his henchmen. The former is philosophically criminal while the latter is a physical threat while at the same time does many menial bad-jobs for his boss. And then a murder occurs, bringing the local chief of police, officer Burgle (Carrie Coon), investigating it as a part of job and also on personal level.

            It’s very hard to not get involved in this mini-series because of many spurts of revelations, which Noah Crawley writes uniformly over the episodes. While the latter episodes are all about devastations, surprises and non-climaxes, the earlier and meatier episodes have excellent episodes especially the one featuring the planet of Wyh. Written by Matt Wolpert and Ben Nedivi, the story of android MNSKY is a heart-rending animation episode, which explains at the end the futility and perplexity of being charitable. There are spurts of political documentary scattered over the episodes in the characters of Vargas, Yuri and Paul Marrane, who himself is a masterpiece stroke of writing.

            Noah Crawley’s plot points are probably aimed at putting most of the characters, except Burgle, in gray zones and creating a situation of tightrope walking, which may tilt any side for the fall. Ewan McGregor does the duel job of playing the brothers, one a confused winner and other an optimistic loser, with his innate skill of artistry. His Emmit is a scapegoat of circumstances and hungry vultures, who find in him a certain meaty taste for their own advantages. Ray thinks he has equal rights on the fortune for reason of foregoing his lucky stamp. Emmit’s partner, Sy, guards the former like a trove of treasure even from Emmit’s own blood. Vargas exploits Emmit for his lack of business acumen.

            The show obviously belongs to David Thewlis, who gives a hard-hitting baddie with the way he talks, mixing his breaths in it, and with the way he overrides the opponents like he has the right to do it. His bad etiquette at the table flashing his teeth while gnashing his sustenance reveals the gluttonous side of Vargas, devouring everything Emmitt has. Vargas finds the presence of good in the world an anamoly, which explains his whole character. Thewlis's phyisical presence is domineering with just him even before the enormous rig, his operating headquarters, arrives to a parking lot of Stussy's, and introduces his wingmen.

            Winstead’s portrayal of Nikki Swango is another ace in the hole. Nikki’s defiant side is explained in the way her character is written over the episodes getting juicy moments in the latter part for what she is. The inside knowledge of her later partner and many other such references makes Fargo an inquisitive watch. Burgle’s character is an extension of Solversons, who finds crime as a bewilderment and laments on its existence. There is an interesting incident when she delves on her detachment with the gizmo stuff at a philosophical level.

            But at the same time, a certain level of disappointment creeps up with the level of anti-climaxes at the end. Using them as a tool of explaining the loose ends as loose ends doesn’t add to the viewer’s pleasure. A few such dead-ends, starting from the fate of murders to the story of Thaddeus, we feel confused about present themselves at the climax. There are a lot more (but I don't want to be a kill-joy).

            Even then, I would highly recommend this mini-series (which is interlinked with the other two seasons) for its modern evolution of television script writing. There are many diversionary topics, which it dwells on and meanders, making the thrill of watching more exciting. It has that wicked pluck in its way of unfolding and connecting the dots like in the manner of Breaking Bad and Better call Saul. But following in the culture of Coen Brothers' writing, it is witty, incisive and completely unpredictable.