The first seasons of “Fargo” stayed within the upper Midwest. Now, the fourth ventures south and shuffles the deck in Kansas City, circa 1950. It is, you might say, a real trip.
There, rival gangs battle for dominance, largely by playing a handful of quirky characters in a game of unlikely situations. Only one – a nurse – has that Dakota/Minnesota accent, but she’s around enough to remind you of the world the Coen Brothers created.
Exercising his ownership over the franchise, creator Noah Hawley pays tribute to other kinds of films in this edition. There’s plenty of “The Untouchables” to savor and even a hat tip to “The Wizard of Oz.”
“The Godfather” looms large, too, particularly since mobster Josto Fadda (Jason Schwartzman) is locked in a battle with Loy Cannon (Chris Rock), who has his own ideas about making money.
The two hold one of those epic summits, use an unusual method of insuring their promises, and begin dealing.
Along the way, they encounter plenty of wild cards – including Oraetta Mayflower (Jessie Buckley), the nurse with “nice” almost embroidered on her uniforms. (She’s not the sweet little thing most think and could be the secret to one man’s success. ) Like Oraetta, Rabbi Milligan (Ben Whishaw) is on the fringes of the action. Because he’s responsible for Cannon’s son, he has a mission – we’re just not sure of his motives.
Toss in 16-year-old Ethelrida Pearl Smutny (E’myri Crutchfield), the daughter of an undertaker, two prison escapees, a pair of cops and assorted relatives and it’s clear this “Fargo” is flush. Too flush.
Early on, the game is slow – incredibly slow. That could be because Cannon hasn’t flexed his muscles. Initially, Rock seems like a weak choice to play someone so strong. Then, he ups the ante and this becomes more than a winner-take-all competition.
Hawley revels in the perfect look (focusing on a stoplight, for example, until you wonder if someone is going to shoot it out) and ideal casting. While Schwartzman’s role could have been played by a number of actors, Buckley and Whishaw are just right. They know the stakes and aren’t afraid to bluff.
Glynn Turman is a winner, as well, as Cannon’s adviser. He dispenses advice with the flair of, well, a godfather, and helps just when it seems all is lost.
Because it antes in so many pots, this “Fargo” is like a thick novel – frequently unwieldy. Schwartzman and Buckley get lost (just when you need them the most); Timothy Olyphant and Jack Huston show up as lawmen when you’re not quite ready for them.
There’s a neat subplot about credit cards and bank swindles that deserves better play. But it’s part of a game that requires concentration, skill and more than a little luck.
While this isn’t the Coen-est “Fargo” of the lot, it does get you thinking about ways the filmmakers’ “feel” can be played in other arenas.
A game changer? Oh, you betcha.
“Fargo” premieres Sunday on FX.
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