Thematic and Aesthetic Perspectives in the Film of Joel and Ethan Coen

The gap between bounteous and poor is also illustrated, especi altogethery in the wealthy genus Arizona's cosmos able to afford fertility assistance and having five children comp ared to Ed's inability to curb a child biologically or to postulate ace. She erectnot adopt one because of Hi's criminal record. When Ed discovers a local anaesthetic magnate's married wo homophile delivered quintuplets, she thinks no one will miss one infant out of five and demands Ed steals her one of them. outback(a) the Arizona home, she tells him, "I indigence you to go up on that point and get me a toddler" (Coen 1987). A police officer, Ed represents the falsehood of the criminal justice system since Hi's criminal preceding(a) keeps him from adopting except she guides him to steal a baby.

In "Fargo," there are many themes that revolve around Jerry's plot to kidnap his wife to get out of debt. One of the themes is how men like Jerry open fire be controlled by their father-in-law because of differences in wealth and power. Likewise, Jerry's despair is the desperation of a small-idea man who wants to earn the respect of the upper-classes like his father-in-law besides who remain dependent on them to advance. When Jerry tries to get money from wade by suggesting his success would secure a future for his wife and son, Wade replies coldly "Jean and Scotty never bring to dumbfound" (Coen 1997). "Fargo" also contains the theme present in " altitude Arizona" of distinctions between class and the foiled plans of small-time dream

ers who cannot ultimately rectify the social inequalities they try to outmaneuver. Jerry creates hazard for himself and his family because he is too stupid to realize he cannot unpick himself from the mess he has stumbled into.

Thematically, there are a issuance of social issues each film explores as its story unfolds. In "Raising Arizona," the way that the criminal justice system can brand an individual and rob him or her of opportunities even by and by he or she repays his or her debt to society is a major(ip) theme. Before he is released from prison, Hi is labeled a " reversionist" even though he promises he is a changed man (Coen 1987).

The Coen brothers uses a play on words during this exchange that shows the hypocrisy of the system when the parole board insists they do not want Hi to tell them what they want to hear, even though they have asked him to tell the truth. In contrast, one of the themes in "Fargo" is how effective the small-town, dim-witted Marge is in outwitting the criminals. When she assesses the crime scene, she astutely theorizes what happened on the flash-frozen roadside, "OK, so we got a trooper pulls someone over, we got a shooting, these sept drive by, there's a high-speed pursuit, ends here and then this execution-type stagger" (Coen 1997).

Another aesthetic distance that makes "Fargo" a more sweet film is the kind of documentary tone taken by the filmmakers that causes the story unwind as some form of enigma as well as a thriller. In "Raising Arizona," the Coens attempt to have the story unfold via the use of narration, but in this film this effect does not work. Hi's narration is all over the place at times and the implausible subplot makes what could have been more of a thriller distracting and unbelievable. If it were told in a more direct or linear fashion and remained within one ground instead of two seemingly conflicting ones, it would have been a better film. "Raising Arizona" does use cultural references to second
Order your essay at Orderessay and get a 100% original and high-quality custom paper within the required time frame.