Minnesota Prairie Roots

Writing and photography by Audrey Kletscher Helbling

Honoring the legacy of Burkhartzmeyer Shoes through film October 20, 2017

Burkhartzmeyer Shoes opened in 1949, starting first as a shoe and harness repair shop. Minnesota Prairie Roots file photo 2015.

 

ON A STREET CORNER in downtown Faribault, local icon Burkhartzmeyer Shoes still stands strong after nearly 70 years in business. That’s remarkable really considering the many chain and other shoe sources in today’s marketplace.

But the family members running this business through three generations also rate as remarkable, assuring its success. I know first-hand as I’ve shopped for foot wear at Burkhartzmeyer since moving to this community 35 years ago. I brought my kids here, too, leaving with shoes or boots tucked inside boxes tied with cotton string and an added bonus sucker.

 

Boots purchased at Burkhartzmeyer Shoes last year and ready for another Minnesota winter.

 

Burkhartzmeyer owners and employees understand the importance of great customer service—measuring feet, fitting shoes properly and always always treating each consumer with welcoming respect and kindness. Like a friend.

I know these shoe people—second-generation owner Buck; third-generation owners Bruce and Brian; and current and former employees Lanny, Dee, Sharon, Larry and Kaylyn. They greet me by name, ask about my family, form relationships that connect me to them and this place.

 

High school students and filmmakers Logan Ledman, left, and Samuel Temple. Photo courtesy of Samuel Temple.

 

Buck and cousins Bruce and Brian emphasize their warm relationships with customers and more in a recently-released film about the Burkhartzmeyer family legacy produced by area teens Samuel Temple and Logan Ledman. This also remarkable pair craft “1855: A Faribault History Series on FCTV.” Via research and interviews, they present insights into local businesses, people and places that broaden my appreciation for Faribault.

Samuel and Logan nailed it in their Burkhartzmeyer film, taking the viewer through the progression of the family business starting with original owners Ferdie and Martha Burkhartzmeyer to second-generation owners, brothers Al, Putz and Buck, to current owners, Bruce and Brian. While the longevity impresses, the stories impress even more.

 

I pulled this shoe box from my closet with the Burkhartzmeyer Shoes label attached.

 

A common thread of hard work, adaptability and outstanding customer service—the business also offers shoe repair and pedorthics services—weaves through the storyline. But so does the kindness. Brian, son of the only remaining third-generation owner, honors his father, Buck, with these words: “He has the gift of caregiving…and kindness.” Specifically, Brian references his dad’s visits to care center residents, including family matriarch Martha, who died weeks short of 108 years. Buck still makes these daily visits, now to friends.

My family, too, experienced Burkhartzmeyer kindness, in 2004. At the time, Buck’s Faribault High School class awarded a scholarship to a graduating high school senior. When my eldest daughter didn’t receive the scholarship, Buck felt so bad he asked her to stop by the store for a new pair of athletic shoes. He wanted her to have good shoes when she left for college. Buck was there waiting, fitting my daughter’s feet. I’ll always remember that kind and caring gift to my family.

 

Al Burkhartzmeyer, known locally as “Mr. Downtown” for his welcoming spirit in the community (especially downtown), was instrumental in getting this historic 1915 clock restored on the Security State Bank Building. Following Al’s 2012 death, significant memorial monies were directed toward the restoration in a project undertaken by the local Rotary.  A devoted Rotarian, Al was once honored for 50 years of never missing a Rotary meeting. Minnesota Prairie Roots file photo.

 

I expect many others can share similar stories about the Burkhartzmeyers. They are a generous family, rooted in faith and hard work and a strong sense of community. They have swept floors, stocked shelves, put shoes away, measured feet. Through their care and compassion, they have made Faribault a better place and us, their customers, better people.

 

TELL ME: Do you have a similar long-standing business in your community that offers quality products and outstanding customer service?

FYI: Click here to watch the 1855 film on Burkhartzmeyer Shoes.

© Copyright 2017 Audrey Kletscher Helbling

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“Sweet Land, the musical” proves as memorable & moving as the film October 13, 2017

The program cover from Thursday evening’s performance of “Sweet Land, the musical.”

 

SEATED ONLY ROWS from the intimate stage in an historic Faribault theater, I felt part of the set, part of the scene, part of the story that unfolded before me in “Sweet Land, the musical.”

What a gift to see this St. Paul-based History Theatre performance right here in my community, in the late 1800s Newhall Auditorium on the campus of Shattuck-St. Mary’s School. I appreciate that History Theatre, through a grant from the Minnesota State Arts Board, is touring this show in Greater Minnesota. Even though I live only an hour from the Twin Cities metro, I don’t attend theater there due to cost and, well, the hassle of driving and parking. Tickets for the Faribault performance were only $20.

 

A promo from the “Sweet Land” film website.

 

I walked into Newhall Auditorium with high expectations. Ali Selim’s independent film “Sweet Land,” upon which the musical is based (and rooted in Minnesota writer Will Weaver’s short story, “A Gravestone Made of Wheat”), rates as one of my all-time favorite movies. Filmed in my native southwestern Minnesota prairie, the setting of wide skies and land, naturally draws me in.

But it is the challenges faced by German immigrant Inge Altenberg, come to America in 1920 to marry Norwegian farmer Olaf Torvik, that make this story memorable and especially relevant today. As I listened to character Pastor Sorenson warn, “She (Inge) is not one of us,” I reflected on how we welcome, or don’t welcome, immigrants to Minnesota.

 

Faribault native Ann Michels in the lead role of Inge Altenberg alongside Robert Berdahl as Olaf Torvik on-stage at the History Theatre. While the movie was filmed in the Montevideo area of southwestern Minnesota, the musical sets the story farther north in the Park Rapids/Hubbard County area. Photo courtesy of the History Theatre.

 

I was especially pleased that the History Theatre performance did not deviate from the film storyline, following it right down to the cup of coffee brewed by Inge and which the pastor declared too strong for his liking. Details like these are important because they connect with the audience in a relatable way.

Performers also connected via music. A musician even stroked a cello (or maybe it was a bass; I’m uncertain) to mimic the moo of a cow during a barn scene. Music from a violin, piano and, surprise, an accordion, and more followed the storyline plot from fast-paced and dramatic to soulful and reflective.

I felt the intensity of emotions in Inge as she struggled to learn English, in Pastor Sorenson as his voice boomed suspicion from the pulpit, in Olaf as he battled to hold his feelings in check.

My nearness enhanced my experience, especially during a softball game when actors moved off the stage, so close their gloved hands nearly touched audience members. As the musical progressed, I saw sweat sliding down performers’ faces.

During an apple pie making scene, I almost expected the scent of cinnamon to waft through the theater. While it didn’t, I caught the nuances of the interaction between Inge and her neighbor. When Inge called the pie strudel, Brownie corrected her. “No, apple pie.”

That’s the thing about this story, this film, this musical—seemingly subtle exchanges prompt the audience to think, to ponder whether the coffee someone brews really is too strong or whether it is our reactions that run too strong.

 

FYI: “Sweet Land, the musical” is showing at the Sheldon Theatre in Red Wing at 7:30 p.m. on Saturday, October 14, and at Memorial Auditorium Performing Arts Center in Worthington at 7 p.m. on Sunday, October 15, closing out the tour to communities in Greater Minnesota.

The lead actress role of Inge is played by Faribault native Ann Michels, who gave an outstanding performance to an appreciative hometown audience. The musical is part of the Fesler-Lampert Performing Arts Series offered at Shattuck-St. Mary’s School. This marks my first time attending a show here and you bet I’ll be back. The Vienna Boys Choir comes to the historic Faribault theater at 7:30 p.m. on November 16.

Special thanks to my husband, Randy, for gifting me with tickets to “Sweet Land” for my birthday.

 

“Peoples of Faribault,” an enlightening must-see video August 4, 2017

High school students Logan Ledman, left, and Samuel Temple produce “1855: A Faribault History Series on FCTV” in Faribault. Photo courtesy of Samuel Temple.

 

THEIR APPRECIATION FOR LOCAL HISTORY shines in the videos they produce. But it’s more than a passion for Faribault history that drives Samuel Temple of Faribault and Logan Ledman of Northfield. The 16-year-olds strive to make viewers think via the videos they create for Faribault Community Television.

 

Photo courtesy of Samuel Temple.

 

Nearly two years after their first of 11 history episodes aired, the teens tackled their most extensive project yet—a 40-some minute video titled “Peoples of Faribault.” I watched the show this week and am impressed by the research, the content and the clincher ending that challenges viewers to consider how their choices affect Faribault’s identity as a community.

Negative local perceptions of his hometown prompted Samuel to co-produce a video that counters that negativity. He and Logan do that through the art of entertaining, informative and thought-provoking storytelling. Their work is top-notch professional as they address issues of ethnicity in their latest and most lengthy film.

 

This prize-winning photo which I shot at the International Festival Faribault in 2012 reflects the cultural diversity of our community.

 

It’s no secret that Faribault has struggled with accepting newcomers. And newcomers have struggled to adapt. But Samuel and Logan put it all in perspective by tracing back to the town’s 1850s beginning and progressing from there. They cover the ethnic groups of the Dakota, French-Canadians, Swedes, Norwegians, Czech, Germans, Irish, Latinos, Cambodians, Chinese and Faribault’s newest immigrants, Somalis. Each group faced issues of assimilation and rejection, the two discovered through extensive research and interviews.

 

This sculptor of Alexander Faribault trading with a Dakota trading partner stands in Faribault’s Heritage Park near the Straight River and site of Faribault’s trading post. Faribault artist Ivan Whillock created this sculpture which sits atop the Bea Duncan Memorial Fountain. Minnesota Prairie Roots file photo.

 

Samuel summarizes the reason each group came to Faribault in one simple statement: “Everyone was looking for a home, for a wide array of reasons, and each found it in Faribault.”

Looking for a home. It doesn’t get more basic than that. But behind those four words are specifics such as war, famine, pursuing the American dream and more. It’s all covered in the film, for each of the featured ethnic groups.

 

Many Somalis now call Faribault home. I took this photo at a 2015 car show in historic downtown Faribault.

 

While researching for the video, the producers began to see a pattern. Says Logan in an email response to my questions:

“Issues of racism, cultural conflict, and discrimination came up in our work for this video. It ended up being a consistent pattern; the town’s response to newcomers was, initially, consistently negative. Over time, though, as new Faribault townsfolk left a multi-generational mark on the community, there was a parallel, consistently positive final acceptance of those newcomers by the town. This was a pattern that repeated itself across every group we looked at, and it’s a pattern we see repeating itself today.”

 

Bashir Omar. Photo courtesy of Samuel Temple.

 

Bashir Omar, a 10-year Faribault resident who serves on the Faribault Diversity Coalition and who works as a cultural liaison in the public school system, offers primarily praise for Faribault in comments aired in the “Peoples of Faribault” video. Although he says people fear the Somali culture, he’s always felt welcomed here and has not been targeted because of his Muslim faith. “Faribault has been a great town,” Bashir says.

 

Samuel and Logan narrate from the front porch of the Alexander Faribault house, home to town founder Alexander Faribault. Photo courtesy of Samuel Temple.

 

Not all newcomers have received the same warm welcome, an issue Samuel and Logan sensitively address through narrative and interviews. They also spoke with a local historian/author, city official and author/English as a second language educator and collaborated with sixth graders from the Cannon River STEM School to create family trees. Town founder Alexander Faribault, son of a part Dakota woman and a French trader, for example, faced discrimination when he befriended the Dakota, according to historian Larry Richie. He reveals in the video that Alexander died a despised and broken man. “We gotta learn to accept others,” Larry says.

 

A flag ceremony during a past International Festival featured national anthems and information about the countries from which Faribault residents have originated. Minnesota Prairie Roots file photo.

 

In their research, the filmmakers learned a few things about Faribault that surprised and unsettled them. I asked. For Samuel, the strong presence of the Ku Klux Klan in Faribault, including a mass gathering at the Rice County Fairgrounds for a state convention in 1924, left him feeling queasy. He noted, too, the Klan’s strong anti-Catholic (in addition to anti-black and anti-Jew) sentiment. For Logan, discrimination against Germans especially during the world wars came as a surprise. In the video, the term “enemy aliens” is linked to Germans.

 

I photographed this sign on the front desk of Buckham Memorial Library in Faribault. Minnesota Prairie Roots file photo 2017.

 

“Faribault is not immune to hate,” Samuel says in the film and then adds this in an email to me:

“Gathering information about the adversity that quite literally every group has faced put in perspective a single truth: accusing any one nationality or ethnicity or religion or group of people of having evil values, or being the root cause of problems in a community is wrong across the board; if we want history to look back on us favorably, we must live by that without exception.”

 

We learn from our past, looking back. This photo shows the back of the Alexander Faribault-Dakota sculpture at Faribault’s Heritage Park.

 

To read those words written by a 16-year-old inspires me and gives me hope. He and Logan are right. We can preserve our heritage while moving forward. We can learn from history. We can choose to focus on the positive, knowing that our choices affect our identity as a community. The choice is ours.

 

FYI: Joining Samuel and Logan in creating “Peoples of Faribault” are friends/musicians Sam Dwyer and Chase Ingraham of Northfield. Sam has also created original music for past episodes of “1855: A Faribault History Series.”

To view the “Peoples of Faribault” video, click here.

You can also see past episodes of “1855” that cover everything from the Fleckenstein Brewery to the Tilt-A-Whirl to local WASP Elizabeth Wall Strohfus at this same link.

© Copyright 2017 Audrey Kletscher Helbling
“Peoples of Faribault” images are courtesy of Samuel Temple

 

Take two: A second look at the film “Sweet Land” & immigration issues February 6, 2017

sweet-land-envelope-copy

The letter Inge received from Olaf, in the fictional film Sweet Land.

She is not one of us. We speak a common language. We have a common background, a common culture. She is not one of us.
#

We have to be careful about this sort of thing…German nationals. German nationals engage in prostitution. They harbor dangerous political convictions. Are you aware of the Espionage Act of 1916?
#

English only in the church. English.
#

You’re German. It’s a bad influence. You’re German. It’s a disruption to my community. You make coffee that’s too black.

She makes good coffee, not like the women in church.
#

I was fearful of her differences, but I was hopeful she could join us on our path….Do not allow your good lives to be poisoned by these two.
#

This is German food?

No, just food.
#

You don’t have the papers.

sweetlandposter_mini

Promotional from Sweet Land website.

LAST WEEK I REWATCHED Sweet Land, an award-winning independent film released in 2005. The movie, based on Minnesota writer Will Weaver’s short story, “A Gravestone Made of Wheat,” and filmed on my native southwestern Minnesota prairie, rates as a favorite of mine.

sweet-land-farmhouse-copy

Olaf Torvik’s home on the prairie. The film was shot in and around Montevideo, Minnesota.

I appreciate the early 1920s setting, the music, the story and, now, its relevancy to today. The above dialogue comes from Sweet Land, which focuses on the challenges faced by Inge Altenberg, summoned to America by Norwegian farmer Olaf Torvik. He expects a Norwegian mail order bride as do others in the community. But Inge is not Norwegian; she is German.

Thereafter, the conflict begins with “She is not one of us.”

The land and love shape the story.

The land and love weave into this story. Here Inge and Olaf dance on the prairie.

I won’t give away the plot, which includes a love story. But I will tell you that I watched the movie this time from a much different perspective, in the context of current day immigration issues in our country. Sadness swept over me.

Please watch this thought-provoking, conversation-starting film. It’s a must-see whether you make coffee that’s good, judged as too black or you don’t brew coffee at all. It’s still coffee.

FYI: Sweet Land, the musical opens April 29 at History Theatre in St. Paul. It runs for five weeks, Thursday – Sunday, until May 28. Will I go? I’d love to…

RELATED: Saturday afternoon a sizable crowd gathered on the Rice County Courthouse grounds in my community for a peaceful protest. Please click here to watch the video, Faribault, Minnesota Immigration Ban Protest 2-4-17, posted by Terry Pounds. Faribault is home to many immigrants and refugees, including from Somalia.

A photographic exhibit of refugee children who fled Syria, leaving everything behind, is showing at the American Swedish Institute in Minneapolis. Photos for Where the Children Sleep were taken by award-winning Swedish photojournalist Magnus Wennman. In order to increase community access to the exhibit, the ASI is providing free admission on Wednesdays in February. The exhibit runs through March 5. Where the Children Sleep launches the Institute’s 2017 “Migration, Identity and Belonging Programming.”

Review © Copyright 2017 by Audrey Kletscher Helbling

 

A Nigerian civil war story untold until now & my emotional reaction January 31, 2017

"The Disturbances" is told in both book and film.

The Disturbances is told in both book and film.

I NEVER EXPECTED to find myself on the verge of crying while watching a documentary about a civil war in Nigeria in 1966. But I did on Sunday afternoon as I viewed The Disturbances at Redeemer Lutheran Church in Owatonna.

Produced by the Baptist Center for Ethics, the film tells the stories of missionaries and their families who, caught in the middle of a civil war, helped save the lives of Igbos, a tribe victimized by genocide. Thousands upon thousands of tribal natives died, many hacked to death by machetes.

The letter calling the Rev. Paul Griebel and his family to the mission field in Nigeria.

The letter calling the Rev. Paul Griebel and his family to the African mission field.

I’ll admit, I’m not the best with history and geography and, until recently, knew nothing of this strife in Nigeria 51 years ago. But then my pastor-friend, the Rev. Kirk Griebel of Redeemer, alerted me to the documentary. He was an “MK,” as missionary kids were tagged, living in Nigeria with his Lutheran Church Missouri Synod pastor father, mother and five siblings at the height of the violence. He was only eight when his family arrived from Minnesota, thus recalls little.

But plenty of others do remember the civil war and spoke openly about it for the first time in The Disturbances, the film titled after the code name the missionaries gave to the conflict. Their experiences were horrible. And memorable. Even 50 years later, their words and faces reveal the trauma of witnessing such violence.

Artist Susan Griebel crafted this quilted art from fabric her mother-in-law, Margaret Griebel, had gotten in Africa.

Artist Susan Griebel crafted this quilted art from fabric her mother-in-law, Margaret Griebel, acquired in Africa.

The featured missionaries (including pastors, teachers and others from many denominations) lived in and around the city of Jos, a cultural melting pot and the epicenter of the violence. They were warned, “Tomorrow there will be trouble.” The next day the phone rang followed by a three-word declaration: “It has started.”

A beautiful carving from Africa, among those the Rev. Paul and Margaret Griebel brought back to the U.S. from Africa.

A beautiful carving from Africa, among those the Rev. Paul and Margaret Griebel brought back to the U.S. from Africa.

And so the stories emerged of Igbos hiding in fields and in rafters of the church sanctuary and in a store room. Stories of Igbos escaping with the help of missionaries. Stories of missionaries hiding a body in elephant grass. Stories of murdered Igbos picked up by trash trucks and buried in mass graves. Stories of the teen children of missionaries tending the wounded inside a police compound. Stories of missionaries lighting a runway with the headlights of their cars during an evacuation effort.

As I listened, I felt my grief rising, heightened perhaps by the unsettling current events in our own country regarding refugees. I wonder what stories they might tell, what violence many have fled/desire to flee for safety in America.

Two stories in particular imprinted upon me from The Disturbances. A victim of the attacks asked a young woman tending him whether she would be his daughter. His entire family had been slaughtered. She agreed, reciting Psalm 23 (The Lord is my shepherd…) and The Lord’s Prayer to the dying man. The woman, 50 years later, still remembers his final words. “I’m going home, my daughter.”

Missionary children at ELM House (Evangelical Lutheran Mission House) in Nigeria. Missionary children lived in the hostel so they could attend boarding school in Jos, Nigeria. The Rev. Paul and Margaret Griebel served as houseparents. Three of their children, including Kirk, are pictured in this group photo.

Missionary children at ELM House (Evangelical Lutheran Mission House) in Nigeria with teacher Carl Eisman in the back row. Missionary children lived in the hostel so they could attend boarding school in Jos. The Rev. Paul and Margaret Griebel served as houseparents. Three of their children, including Kirk, are pictured in this group photo. Photo courtesy of the Rev. Kirk Griebel.

And then there’s the story shared by Carl Eisman, a Lutheran teacher at Hillcrest School (a boarding school in Jos) and friend/co-worker of the Rev. Paul Griebel. After evacuating children from a hostel, the two men remained hidden there with tribal members. As an angry mob approached ELM House, Eisman hid in the shadows with a hunting knife. And, as he recounted, Rev. Griebel sat at a nearby table reading Scripture and praying. Eventually, the mob dispersed and the men emerged to find a body, one they temporarily hid in elephant grass.

My friend, the Rev. Kirk Griebel, doesn’t recall his father (or mother; both now deceased) ever talking about the violence they witnessed. He remembers only an angry mob and waiting outside a fenced police compound where the injured and dying were taken.

This close-up of Susan Griebel's Nigerian-themed art shows the dove she incorporated as

This close-up of Susan Griebel’s Nigerian-themed art shows the dove she incorporated as representing the Holy Spirit. In the film, one interviewee said the missionaries had only one resource–that of prayer.

The film explains why the missionaries didn’t speak openly about the violence, even to family and church staff back home. They felt caught without resources in the middle of a civil war. As foreigners, they thought it best to lie low. They desired, too, to protect the children, to normalize their lives. And so they remained mostly silent. Until now and the documenting of their experiences in The Disturbances.

Given the time period and their foreigner status, I understand the guarded position. Missionaries and Nigerian pastors met, though, for two days in October 1966 to discuss “the disturbances” privately. I am thankful that these long-ago missionaries and their family members have now chosen to speak publicly about their experiences. For it is through the telling of personal stories that we learn and begin to understand suffering, courage, compassion and faith in times of violence. And for those who witnessed such atrocities, talking begins the process of healing.

FYI: Upcoming screenings of The Disturbances are scheduled in Missouri and Alabama. Click here for details. The Rev. Kirk Griebel will present the film this Wednesday, February 1, at 6 p.m. at King of Kings Lutheran Church, 1701 NE 96th St. in Kansas City, Missouri.

© Copyright 2017 Audrey Kletscher Helbling

 

“Love Story” revisited April 30, 2014

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I now own a VHS copy of Love Story, purchased from the discard shelf at my local library.

I now own a VHS copy of Love Story, purchased from the discard shelf at my local library.

“Love means never having to say you’re sorry.”

FORTY-FOUR YEARS AGO, with the release of the film Love Story, those words quickly became a part of pop culture. They rolled off the lips of adolescents like me, a then high school freshman, who could fall easily, blissfully in love with the latest movie star featured in Tiger Beat magazine.

Now, four-plus decades later, I don’t quite believe the “love means” phrase spoken twice in the award-winning Paramount Pictures flick starring Ryan O’Neal and Ali MacGraw. Love does mean asking for forgiveness when you’ve wronged a loved one.

Despite that change in perspective, I still rank Love Story by writer Erich Segal as one of my all-time favorite movies. The plot, on the surface, seems hopelessly simple: Wealthy Harvard student Oliver Barrett IV falls in love with Jennifer Cavelleri, a Radcliffe student from a working-class family. Oliver’s father disapproves of Jenny and a rift develops between father and son. Eventually, Jenny dies of leukemia.

As a dreamy-eyed teen, I failed to see beyond the surface plot. But there’s so much more depth to this film than a romantic story that ends tragically. It just took decades, and numerous times viewing this movie, to figure that out. I had to get past the relationship between Oliver and Jenny, past my sadness over Jenny’s death, to understand.

So the last time I watched Love Story, just weeks ago, I really listened to the dialogue.

“I never see his face,” Oliver says of his father.

“Does he wear a mask?” Jenny asks.

“In a way,” Oliver replies.

That brief exchange speaks volumes to the stiff and formal relationship between Oliver and his father. The elder Barrett expects much of his son. But he does not expect him to marry below his social class.

“I mean she’s not some crazy hippie,” Oliver says of Jenny. I laugh when I hear that now. “Hippie” sounds so dated. But in 1970, when Love Story hit the big screen, rebellious, anti-establishment, free-loving, independent-thinking young people were, indeed, pegged as hippies.

“If you marry her now, I’ll not give you the time of day,” Oliver Barrett III tells his son.

So the line is drawn in the sand. Oliver chooses love over money and marries Jenny, even says in his wedding vows, “I give you my love, more precious than money.”

At this point in the movie, I nearly stand up and cheer, if not for my sadness over the broken relationship between father and son. Life is too short to sever ties with loved ones over differing opinions and expectations. Life is too short to choose money over love.

Surprisingly, I have not wept this time while watching Love Story. I wonder why. Perhaps it is because my approach to the film has been more analytical than emotional. I am also seeing, for the first time, two love stories (or lack thereof)—one between a man and a woman and the other between a father and son.

And I have been caught up in noticing the details—the rotary dial phone, the over-sized dark eyeglasses, the mini-skirts—that denote this as a 1970 film. I am taking in the beautiful winter scenery; the instrumental theme music, the lyrics “How do I begin to tell the story of my love,” replaying in my mind; and the one word in the film, “preppie,” that still irritates me after four decades.

I am regretting, too, that I no longer have the black and white poster of Ryan O’Neal and Ali MacGraw that once hung above my bed, in the lime green room with the candy stripe carpeting.

CLICK HERE TO READ how Love Story connects to a shop in Neenah, Wisconsin.

© Copyright 2014 Audrey Kletscher Helbling

 

My opinion of Fargo, the film not the city, & a television series October 2, 2012

Filed under: Uncategorized — Audrey Kletscher Helbling @ 9:02 AM
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SO THEN, THERE, I watched that there Fargo movie just like I promised ya I would, albeit that promise was made, and this review written, months ago. Ya betcha.

But timing is everything. This past week the Academy Award winning writers of Fargo, native Minnesotans Joel and Ethan Coen, announced plans to executive produce an hour-long series for FX television loosely-based on Fargo. Perfect. Time to pull this review out of my draft box, update and publish it.

Since I don’t get FX, relying instead on a roof antenna to deliver several channels of programming to the single 1990s television in our house, I doubt I will ever view the new Fargo series. I have no idea what writer Noah Hawley, or the Coens, have planned for the small screen adaptation.

But, if the team can produce a show similar to the 1990s television series Northern Exposure, set in Alaska, I’d consider it a success. Honestly, I loved that geographic-centric show with strong local characters and could see the same premise working for Fargo.

That update given, let’s return to my opinion of the original Fargo film. To get you back on track, I’ll repeat the intro to this post:

So, then, there, I watched that there Fargo movie just like I promised ya I would, albeit that promise was made, and this review written, months ago. Ya betcha.

Honestly, people, I cannot write like I’m some northwoods hick. This is not how I talk either. Nor is this how Minnesotans or North Dakotans speak, although occasionally a “ja/ya” or “you bet” may slip into our conversations.

After watching the Coen brothers’ 1996 award-winning film for the second time, because I’ve visited the city of Fargo thrice already this year with the son now attending North Dakota State University, my negative opinion of the language in the movie has broadened. Now not only do I dislike the inaccurate accents and word usage, but I don’t like the bad language either. I apparently had forgotten about all the crude language written into the script.

Apparently I had also forgotten that seven—and I think I got that count right—characters are murdered. That’s a lot of bloodshed.

So what do I consider the film’s notable accuracies in depicting Minnesota?

The Coen brothers, who are native Minnesotans, got it right with the snowy highway scene, the scraping ice from the windshield, the buffet and the eggs for breakfast, the car needing a jump start and this weather phrase: “Gotta front comin’ in.”

But here’s what I really appreciate in Fargo: One of the main characters is a strong woman, Brainerd (Minnesota) Police Chief Marge Gunderson. She is gutsy and determined and she is married to an artist. That the Coens would write that key part for a woman impresses me, because, even in 2012, I am quite certain the number of women who head up police departments in Minnesota and North Dakota is relatively small.

I also like this line by Gunderson, spoken at the end of the movie as she ponders the loss of life, all because of money: “There’s more to life than a little money, you know. Don’tcha know that?”

That statement is enough to redeem the movie for me.

But I’m still wondering why this film was titled Fargo. Sure, the opening scene takes place in Fargo. But that’s it. From there on in, it’s set in Minnesota. I suppose Brainerd doesn’t have the same ringing appeal or instant identity as Fargo.

And then I’m a bit confused by the discrepancies between the opening—which states that the events depicted in the film took place in Minnesota in 1987—and the afterward, in which viewers are told the film is based on incidents but not a true story. Which is it?

IF YOU’VE SEEN the movie Fargo, what’s your opinion of it?  Do you think it accurately depicts Minnesota and/or Minnesotans? Would you have chosen a different name for the film?

What do you think of plans for a television spin-off of Fargo? What type of content would you like to see in that proposed series? Would you watch it?

CLICK HERE to read a previous post I wrote about a woodchipper and movie memorabilia from the Fargo film on exhibit at the Fargo-Moorhead Visitors Center.

© Copyright 2012 Audrey Kletscher Helbling