In the Coen brothers’ 1996 film Fargo, Jerry Lundegaard walks into a North Dakota bar in a cloud of discomfort and, we imagine, arctic air.
What does it mean to be a good person? Is it a small thing, or is it big? Is it enough to try?
Fargo is an outlier in the world of neo-noir, protecting its heroes by ending their stories and defiantly leaving their purity intact as though to prove that happy endings are possible.