The making of Fargo at 30: ‘Man, you don’t give me this role, I’m gonna shoot your dog’

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As the Oscar-winning Coen brothers classic reaches its three decade anniversary, stars of the film discuss the stories behind its production William H Macy was originally slated for the modest role of a detective in Fargo . Then the film’s directors, Joel and Ethan Coen, asked if he would like to read for the lead part of Jerry Lundegaard. “I said: ‘Boy, do I!’,” recalls Macy. He memorised the script that night and impressed the Coens but needed to seal the deal. Macy heard the pair were in New York, got his “jolly ass” on a plane and deployed some Coen-esque dark humour. “I said, I’m worried you’re gonna screw up your movie by casting someone else . I knew Ethan had just gotten a little puppy and I said: ‘Man, you don’t give me this role, I’m gonna shoot your dog.’” Continue reading... from Film | The Guardian https://ift.tt/QkEhpox via IFTTT
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Home Sweet Home: Where Evil Lives review – fresh take on pregnant-woman-in-peril horror

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Unfolding in what looks like a single take, Thomas Sieben sends his protagonist into a house that’s haunted by historical trauma

When Maria (Nilam Farooq) shows up 37 weeks pregnant at the attractive but remote country home of her husband Viktor (David Kross), you sense immediately that no good can come of this. If a character is pregnant in a film, it’s about even odds that said pregnancy will function as a way to increase their vulnerability – though not all films take this as far as this nifty little low-budget horror movie from talented German director Thomas Sieben, which combines the haunted house subgenre with pregnant-woman-in-peril to nicely nerve-jangling effect.

Occult horror always needs a starting point, a first evil from which the later ghosties and bumps in the night derive. Some films take as their inciting incident a broader historical crime or atrocity and it’s into this category Home Sweet Home falls. The Herero and Nama genocide, conducted by imperial German forces against indigenous people in what is now Namibia, was the first genocide of the 20th century, and is the basis for subsequent terrors visited upon our heavily pregnant heroine. Paying a price for the actions of previous generations is a big theme in German horror, but by looking to an earlier period than the horrors of the Nazi regime, Sieben reminds us that genocidal white supremacism was not invented in the 1930s.

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