“Fargo” (Season 4)—Like No Other

An enticing mob story with the texture of a graphic novel, Fargo (Season 4) is dissimilar from the previous three seasons.  As much a commentary on social and political justice as a drama about one gang competing to destroy another, this new season is like no other.

Fargo’s entire sweep of  1950’s organized crime in Kansas City is brutal and not for the faint-hearted.   With the rise of Jewish, Irish and Italian syndicates — whoever was “next off the boat”— three families (Jewish, Irish and Italian) kill each other off in a constant struggle for dominance. Family members ruthlessly  maneuver for  attention and loyalty. And we see how institutions in power have an incentive to see these immigrants  fight each other instead of joining forces to fight institutional injustice. A“Nurse Ratched” character (Jessie Buckley) who straddles the boundaries of all the feuding factions provides additional tension. 

An ambitious and more cerebral African American mobster, Loy Cannon (Chris Rock) trades his son for the son of the rival Italian mob, run by Josto Fadda (Jason Schwartzman). Loy  hopes  the trade will bring about  cooperation instead of conflict. Fadda has his own internal familial troubles, with his ruthless brother, recently arrived  “from the old country” and itching for a fight.  The two mob leaders, for the most part, are evenly matched with accomplices wrecking their best-laid plans. But in the end, Loy outsmarts Fadda.

Split screens feature the cast of  eccentric characters in simultaneous scenes of carnage and betrayal.  These include: a deranged and homicidal nurse (Jessie Buckley), a doleful foot soldier (Ben Whishaw) who deeply identifies with Loy Cannon’s young son, a zealously religious lawman (Timothy Olyphant) and a studious schoolgirl (E’myri Crutchfield) with ambitions to do more than a Black girl in 1950 is allowed. She assumes that hard work, a first-rate mind, and following the conventions of society will reward her…even in a Jim Crow de facto legal system.

What is perhaps the most intriguing aspect of this crime story is that Loy Cannon feels it’s just his job,–being a mob boss– and his real life is the relationships he has with his wife, children and closest friends (some of whom die).  Outstanding performances by Chris Rock and Jason Schwartzman playing against type make this season of Fargo a distinctive  stand-out.  This is “Sopranos” on steroids with no false sentimentality nor shrink-wrapped platitudes about law and order. Served on a plate with red-hot coals of injustice and a very crooked playing field, Season 4 of Fargo does not disappoint.

Availability:  HBO Max.

Wild Rose–Mothers and Daughters with Impossible Choices

Wild Rose, an indie film about a young aspiring country singer

Wild Rose centers on a young single mother and ex-con who dreams of moving from Scotland to Nashville to become a country singer.  This indie is currently in theaters.

Rose-Lynn Harlan (newcomer Jessie Buckley) dreams of becoming a country music star, while grappling with the regaining the trust of  her two school-age children who have been cared for by her mother (the always remarkable Julie Walters)   during her incarceration for drug dealing.

Why should she give up something she knows she is so good at? On the other hand, is success worth sacrificing her relationship with her children?  This is the impossible, heartbreaking dilemma Rose finds herself in. And dividing her time between maternal responsibilities and personal is rife with obstacles as anyone knows in struggling with work/balance issues.  She’s trapped between two worlds.  the tax on working mothers that will always affect career choices.

Wild Rose  is a powerful portrayal of the resentment that both Rose and her mother have endured in not following their own dreams.  Her mother is the foundation that has provided the love and stability for Rose’s children when their mother could not.   And the  consistent disharmony and disconnect between mother and daughter is contextualized and nuanced, adding a searing dynamic of two women with  unhealed wounds striving to be made whole.

Having to find employment fast as a condition of her parole, Rose’s mother, through a friend, finds a position for Rose as a “daily woman”, a housekeeper for a very wealthy family.  Soon the employer becomes Rose’s  benefactor (Sophie Okonedo), who generously supports her dream to go to Nashville.  Rose is a small-town-girl with big-city dreams, a familiar narrative, but with some unexpected twists.

Wild Rose showcases relationships between women, both maternal and supportive,  without power dynamics, but with a very strong sense of empathy.  This film is a real original!