This season has given the impression that there were many side stories lost in editing this season, and my gut tells me Omie’s character was a victim to much of it. In exchange for being allowed to stake out there for the day, the station attendant has Omie and his captive crook paint for him. “East/West” opens with Omie stumbling upon the remote station with a hostage in his trunk. Little does Rabbi know that Cannon’s man Omie had been using that same fill station as a trap to catch Calamita. Rabbi’s compassion for the boy forces him to seek out a gift, and he heads to the nearest fill station to get some sweets. He leaves empty handed, just in time to prevent Satchel from being the victim of racial profiling at the hands of a cop.īack at the hotel and trying to conjure up a plan, Rabbi realizes it is Satchel’s birthday.
Ben Wishaw sells his conflicted gangster shtick well, as Rabbi’s experience tells him he must punish the dimwitted yuppies that helped themselves to his money, but his newfound conscious can’t abide the violence.
Knowing that the new owner found the cash during renovations, Rabbi returns later with a gun and confronts the owner and his brother. Rabbi attempts to retrieve about $5,000 that he stashed in an old building years ago, but when he arrives at the building, the business has changed and the wall that he stashed his cash in is noticeably absent. How Fargo Season 4 Pays Homage to the Union Station Massacre By Tony Sokolįurther than the quirky characters, the plot in “East/West” feels reminiscent of a typical Coen Brother American Crime yarn. Still, it somehow ends up being emotionally affecting seeing the young Satchel, alone and in a strange new land (now in color, of course) standing underneath the taunting billboard by the episode’s end. Instead of letting viewers chew on the imagery and symbolism for ourselves, the writers have Milligan ask the billposter “The future is what? What’s it going to say?” and the billposter reads the subtext back to us. The quality tips over into being a little too effortful and obvious when Rabbi becomes tripped up over a half-finished billboard across the street from the hotel. The whole hotel is split right down the middle, a product of deep-seated ideological differences between the pair of sisters that own the business.
There’s a chatty Dale Carnegie disciple, an aspiring oil tycoon on his way to Texas for a fresh start, and a strange pastor traveling with his mother. Their journey leads them to the Barton Arms’ hotel in which they encounter a whole house of colorful characters despite the black and white presentation. The hour finds Rabbi and Satchel on the road, trying to flee Constant Calamita’s pursuit. Though the episode invites comparison to the Wizard of Oz, it’s also deeply informed by the Coen Brothers’ filmography, more so than the typical installment. By far the most stylish episode in the season, “East/West” is brief but welcome detour ahead of Season 4’s final two episodes. In a not-so-subtle homage to the Wizard of Oz, Fargo goes black and white and prominently features a small dog and a Kansas tornado, but here the fortune teller that Dorothy finds while running away is replaced with a vague billboard, which takes on a deeper and more ominous meaning by episode end. If last week’s Fargo featured a climactic shootout at a train station that felt strongly influenced by The Untouchables, “East/West” looks back even further in film history for inspiration.
0 kommentar(er)
