When the Coen Brothers are discussed, there is a number of images and films that may come to mind. Perhaps it is the bleak landscape of Brainerd, Minnesota and the dark comedy known as Fargo (1996), or maybe the thrilling modern “wild west” film No Country for Old Men (2007), or even the iconic, screwball LA comedy The Big Lebowski (1998). No matter which film was brought to mind, a highly specific landscape and scene was likely pictured in great detail, thanks to the talents of the brothers to create entire worlds in their films. It is clear that the Coens have built a filmography over the last three decades with both a wide range and a strong influence on the film industry, predominantly through their talents in establishing scenes and key themes within them. What role does setting play in each of their highly unique movies, and what connects their plethora of films together?

Most importantly, the concept of morality is a theme heavily explored and touched upon in every Coen film. Each movie typically involves cheating the system, and a “common man” attempting to influence certain circumstances he cannot control. The archetypes of ambitious yet inept criminals also play a huge role in their comedies, and provide foundations for some truly hilarious films. They tend to toe a thin line between tragedy and comedy, consistently switching between them and exploring the similarities and parallels between them. Whether it be Jerry Lundegaard’s pathetic yet comical attempt to blackmail his father-in-law and exert some power over his own life in Fargo, or Llewelyn Moss’s dark journey of attempting to survive an unforgiving environment and a sociopathic killer in No Country for Old Men, each Coen film exhibits certain themes of cosmic irony and poetic justice that both shock and thoroughly capture a variety of audiences.

In addition to their focus on morality and justice, the Coen brothers tend to choose highly specific settings to exemplify these concepts. In The Big Lebowski, downtown Los Angeles hosts a variety of eccentrics, artists, cowboys, and criminals, highly similar to the unconventional and highly diverse cultural presence in the real LA. The Coens explore an array of characters, from the iconic Dude himself–often coupled with shots of a tumbleweed in an empty landscape to display his ever-drifting nature–to the renowned bowler Jesus Quintana who exists primarily and exclusively in the bowling alley. Los Angeles proves to be a perfect backdrop for a bizarre film such as this, and highlights the individuality and authenticity of each crucial character.

In No Country for Old Men, the opening scene consists of a narration from Sheriff Ed Tom Bell alongside several landscape shots of the setting for most of the film. Bell discusses the changing environment in which he resides, and the movement toward increasing immorality and inhumanity. These concepts, paired with several shots of the beautiful yet dangerous desert, set the stage for the key themes of the film. As explained by Jake Orthwein’s 2017 article, titled “The Philosophy of the Coen Brothers”, “No Country, in particular, is worth dwelling on, not only because it’s a perfect piece of filmmaking, but also because it provides insight into the brothers’ ambivalence about meaning. Ed Tom Bell’s speech at the film’s opening expresses a fear that the Coens seem to share: namely that, if he agrees to engage with the violence and tragedy of the world, it may overcome him” (Orthwein). In this case, No Country proves to be a prime example of how an environment can influence a story in the Coens’ films.

In Fargo, the Coens choose to depict the bleak landscape of Brainerd, Minnesota as the foundation for their story. Similar to No Country for Old Men, the opening scene consists primarily of landscape shots and portrays the cold, white expanse of Minnesota. There is no dialogue for the first two minutes of the film, and the camera focuses on just one car–later revealed to belong to main antagonist Jerry–slowly coming into view. The scale in this scene is highly important; in placing the main character in the very distant background amidst a massive landscape, the Coen brothers note that Lundegaard’s environment is blank, emotionless, and deeply alienating. Additionally, choosing a highly unsaturated landscape such as this puts characters in conflict with their environment. Whether it be the ever-good Sheriff Marge Gunderson directly in contrast with her increasingly immoral surroundings, or the blood of criminal Carl Showalter splashed against the pure white backdrop, the Coens utilize setting in this film and many others to encapsulate key themes and concepts of morality embedded in the story.

As a whole, the Coen brothers’ films have been met with high praise and accolades in the film community. From their Palme D’Or award for their 1991 film Barton Fink to their fourteen Academy Award nominations and four wins, it is clear that the pair have left their mark on the filmmaking industry, namely through their uses of unique setting and dynamic explorations of morality, and are absolutely here to stay.

Sources:

Orthwein, Jake. “The Philosophy of the Coen Brothers”. Film School Rejects. 6 July 2017. https://filmschoolrejects.com/philosophy-coen-brothers/.