Fall movie seasons past are littered with a particularly irksome kind of prestigious pandering: movies in which some shiny star strips themselves of glam and glow to play a Real Person. We are meant to praise them for their bravery, but so often the proper reaction is to roll one’s eyes and move along, leaving the star and their deceptive preening to the eddy of their insistent vanity.
McDormand did some work at an Amazon fulfillment center while making the film. She also spent some time sleeping in Fern’s van, which she has named Vanguard. From some perspectives, McDormand could be just another dilettante actor mistaking Method for meaning. But, which is really more character study than surveying sociology, approaches Fern’s circumstances, and those of the people she encounters on her travels, with a fluid, un-judging sensitivity.
But in the tighter binding of Fern the character, I think we keenly grasp why she can’t accept the charitable help of others, why it is so hard—impossible, for her—to rebuild a feeling of home when that possibility has been provided so obstinately on someone else’s terms. This is its own kind of pride; one exploited, perverted, and abused by the unfeeling mechanisms of corporatized America, which demands allegiance to mythic bootstraps before, in so many cases, whipping believers with them.
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