The concept of presenting a double feature in the same vein as the cinema of yore is fascinating in that it examines the relationship between two films. Whether it be thematic, stylistic or on the basis of its creators, a relationship between films sheds light on a broader genre or message. As such, this fascination led me to compile my own double features in the hope of revealing context when comparing some of my favourite films.
For the first instalment of this series I shifted my focus towards the dark comedy, a genre that I find to be one of the most captivating in cinema. When executed well, the dark comedy transcends the limitations of a conventional comedy due to its often macabre embellishments. Time after time, this sub-genre has demonstrated excellence through its duality of drama and comedy and how the conventions of one informs the application of the other. Of particular interest within this sub-genre are the films that tackle crime. For instance, the dark comedy depicted in Fargo and In Bruges presents a unique twist on a standard murder plot as a result of its quirky perspective on a world inhabited by bloodshed and tragedy.
Fargo is a tragedy in every sense of the word, as the mediocre lifestyle of a car salesman is thrown into mishap when a plot to kidnap his own wife in an attempt to acquire ransom money goes astray (who would’ve thought?). Both Ethan and Joel Coen provide what I consider to be their magnum opus in a seminal filmography through their direction and writing that presents equal amounts of shock and hysterics. However, the fusion of genre isn’t represented by a mere switch between the comedic and dramatic; the two coexist in every scene. This leaves the audience open to laughing or grimacing in the very same scene, and thus the Coen Brothers exemplify the unorthodox conventions of the dark comedy.
Similarly, In Bruges fuses tragic character development with witty English humour tinged with an unsettling subject matter. The encapsulation of the genre flourishes in its ability to find comic relief in the direst and often offensive scenarios. Nonetheless, the film is far from an overt exploitation of crude humour. Rather, director Martin McDonagh masterfully depicts the breakdown of a hired gun faced with the accidental murder of a child. As such, In Bruges frames a moral dilemma around absurd comedy, and by doing so, solidifies itself as one the hallmark dark comedies.
Consequently, the intrinsic similarity between Fargo and In Bruges lends itself to a fascinating double feature. By breaking free from the exclusivity of both the comedy and drama, this pair of films fuses the two to reinforce one of cinema’s greatest hybrids: the dark comedy.
Additional Recommended Viewing
Trainspotting, 1996 (dir. Danny Boyle)
Snatch, 2000 (dir. Guy Ritchie)
American Psycho, 2000 (dir. Mary Harron)