FARGO AND THE WOMEN

FARGO – What is it with Fargo Season 2 and the women?

Season 2 of the hit FX show Fargo just concluded and the praise received if anything exceeded the first season, which itself had come as a surprise. And yet there was something that disturbed me throughout my viewing of Noah Hawley’s intelligent crime drama: namely the women. I remarked on this in my mid-season review (CLICK HERE to read that) and my perplexity only increased as the show went on. A brilliant essay by Kat George for the Decider website posited the absolute opposite of what I’m going to argue here (read that OVER HERE), so first I better concede some points. First off, Fargo gives women a central role. This is the core of the Coen brother’s original motion picture with Frances McDormand’s  Marge Gunderson, a down to earth police woman whose apparent simplicity firm moral rectitude and sharp investigative nous. The first season we got a riff on that with Allison Tolman’s Deputy Molly Solverson. And season two has a quartet of major female characters, all of whom are intelligently written, well performed and move the narrative: Kirsten Dunst as Peggy, Jean Smart as Floyd Gerhardt a would be matriarch of the local crime family, Betsy Solverson (Cristin Milioti) the Sheriff’s ailing wife and Rachel Keller as Simone Gerhardt, Floyd’s granddaughter, a would be femme fetale. In the first episode we get a taste of the strong women when a young Gerhardt tries to prove himself by threatening Judge Mundt (Ann Cusack). Her refusal to concede to the male bluster and her resistance is part of what sets off the chain of events that will unravel throughout the rest of the show – Peggy gives the coup de grace driving her deus ex machina – but it should also be noted that she ends up dead. This is a world not kind to strong women. Not kind to anyone, it might be conceded.

So let’s take the Gerhardt’s next. The ‘would be’s a stuck on there are essential here. Floyd and Simone are both responding to and trying to best the patriarchal mob family from opposite ends of the spectrum – Simone is trying to betray it from without and Floyd take it over from within. And they both fail dramatically. Kat George describes Floyd as a ‘rousing, formidable woman’ but there’s not much evidence of this. This is what she would be, but her only moment of anything like control is when she orders a massacre. All her other decisions end in failure and her sons systematically undermine her. As does her granddaughter whose inept betrayals and manipulations show her as naive and easily manipulated.

Next comes Peggy. The hair dresser with a butcher for a husband and a yen for self-improvement (actualization) is the narrative catalyst that just keeps on giving. George describes her as ‘the puppeteer’. However, giving her power as the lead agent fails to see that her agency is fatally compromised by her mental illness. As the hallucinations in the final episode make clear, Peggy is delusional. Diagnosing her is a tricky task, partly because mental health is always at the behest of narrative in such cases but also because she is the re-enactment of that old misogynistic stereotype – the hysterical blue stocking. Her dissatisfaction and yearning for self-improvement is part and parcel of her madness, hoarding travel and beauty magazines and hallucinating lifestyle gurus. In the final episode we have replay of the scene from the original movie when Marge confronts the main criminal Gaear (Peter Stormare) through a rear view mirror conversation in the police prowler. Her interrogation of the silent banal evil sat on her back seat reveals his smallness, his cupidity in stark relief to her basic un-cynical decency – it is the moral core of the film. The gender roles reversed, it is Patrick Wilson’s police officer Lou Solverson who asks the questions and Peggy who gives a passionate feminist reading of the whole situation – the constrictions of small town life, the limitations and criticisms and surveillance a woman is subject to, her inability to become who she really thinks she should be. ‘People got killed,’ Solverson reminds her. All her problems in the context of the dead bodies reads as a petty complaint of a desperate and desperately selfish housewife, whose delusions led to the death of her doltish but basically good husband (Jesse Plemons).

But Lou is not the only person to give a rebuttal to Peggy and her concerns. His wife Betsy is the counterpoint to all of the women striving to dominate their men, striving to realize themselves. Of her, George writes: Betsy ‘is just as threatening to her world as Floyd and Simone were to theirs, or as Peggy is to the world at large. Betsy has mastered the men in her world, managing to be smart, biting, motherly and gentle all at once.’ So mastery has come through being an uncomplaining, saintly, self-sacrificing, self-abnegating mother and housewife? She masters the men by doing the dishes? By waiting patiently at home, dying quietly while her husband does everything he can not to come back, under the guise of duty? Sure she finds the gun and dispenses stern advice to the town drunk, but all this only secures her in the one role that women are allowed to flourish in. She is a matriarch and not without power, but the matriarch is not necessarily a woman who opposes male power; much of the time they facilitate it – the woman who gets to boss the other women in how best to look after their men.

I get that Fargo is set in the mid-West in a nascent Reaganite America. This is a small town conservative homeliness pitted against the forces of darkness, the interlopers – blacks and native Americans, or just people from Kansas city. It is hard to unpick where that conservative world view is being satirized or lionized – a stickiness that is crucial to the appeal of the source film as well as the TV show. But women, at least in my ledger, seem to get the worst of it. They are mad, bad and dangerous to know on one side, or saintly, motherly and imminently dead on the other. And although misogynists all got short shrift as well – ‘You have a woman problem,’ hisses Dodd Gerhardt, the worst offender – one can’t help but feel the show comes down very much on one side – the Nancy Reagans rather than the second wave feminists.

I’d be interested to hear your thoughts. Use that l’il ole comment box below.

For more Fargo, Click Here.

FARGO 2: REVIEW

FARGO: Season 2 – Mid-Season Review: The second season of Fargo is some great television but its depiction of women though true to the 70s period is pretty hard to stomach.

At the beginning of every episode, Fargo underlines its fictive status with the greatest lie in art ‘based on true events’. Although in the Coen Brothers’ original movie the assertion was slippery – many took them at their word at least at first – in Noah Hawley’s inspired show the repeated assertion of sober truth is weekly reminder that we are watching a brilliant blackly comic fantasy show. Yes it might be set in Minnesota and there aren’t any dragons, but this is as realistic as Game of Thrones using its comically exaggerated aw heck ordinariness as merely a counterpoint to the operatic levels of violence and the Manichean extremes of good and evil portrayed in the snowy wastes.

Season 2 sees the action shift to 1979 and unfurls as a crime turf  war played out against the background of the irresistible rise to power of Ronald Reagan. Everyone is against Carter, whose original sin seems to be the oil crisis which sees people having to queue to fill up their cars as a sign of the decline of America. The characters are drawn with broad strokes. The honorable and decent police officers Patrick Wilson and Ted Danson are played with ramrod moral probity and down to earth wit. No phone footage of them beating up or shooting unarmed black men. Fargo is set before camera phones made the police act that way. On the other side are the wicked criminals, the Gerhardts and the Kansas City crew, both sounding like progressive rock bands and both with a superbly operatic and unrestrained sense of violence. In the middle are the simple folk, the Blumquists played by Jesse Plemons and Kirsten Dunst, who have to pay for the consequences of poorly made decisions and ultimately the violence of everybody else. Missing is Billy Bob Thornton’s truly compelling performance as an avenging angel of violence, but his bemused extreme violence remains as does the opposition provided by the down to earth folks. This is a world that could easily bring forth the dualism with crayons of Reagan’s morning in America versus the Evil Empire rhetoric.

Part of this conservative universe is the treatment of women who are either dangerously duplicitous (Rachel Geller as the Gerhardt daughter), dangerously dumb bimbos (Dunst) or saintly and dying (Cristin Milioti as Betsey Solverson). The one person who could buck the trend, Floyd Gerhardt (Jean Smart) Matriarch of the Gerhardts is seen consistently as ineffective and always a step behind her feral offspring as well as her adversaries. Now this is a mid-season review and I’m betting that the worm might well turn at some point but thus far what is really missing from the show is not Billy Bob Thornton’s entertaining grandstanding but Molly Solverson (Allison Tolman)’s strong woman at the core.

Fargo remains one of the best and most unlikely successes of recent television. And it is testament to how good it is that I haven’t even mentioned Nick Offerman’s turn as town lawyer and blow hard.

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