The Matrix and Truman Show come to mind as obvious examples of folks grappling with self-identity.

From this year, Hanna, which I saw on the same day as Rango, so it was interesting to compare and contrast the two. Very different genres, very different stories, very different tones, same existential question driving them: "Who am I?"

"The psychological rule says that when an inner situation is not made conscious, it happens outside, as fate. That is to say, when the individual remains divided and does not become conscious of his inner contradictions, the world must perforce act out the conflict."

Sounds a capsule description of several movies - PSYCHO, FIGHT CLUB, and every version of DR. JEKYLL AND MR. HYDE...

Fargo's Jerry Lundegaard certain seems to embody this whole "Who am I?" conundrum beautifully.

Here's a guy who must exude Midwest nicey-nice at all times - - at his job as sales manager for his dealership, at his home with his cheery cipher of a wife and kid who bitches that there's "no fucking way" he's not playing hockey this year even though he got lousy grades.

And yet the cracks show all over the place... when he sleazily tosses in that Tru-Coat on a sale, when he faxes, no mails, no faxes, no mails those VIN numbers in question to GMAC...

...and, of course, ultimately, plots the kidnapping of his wife in hopes of covering up and mending past transgressions.

See, THIS is why I love the Midwest. We homespun folk truly are a morass of complexity and failings and wickedness and putrescence and yet we put on that "aw shucks" face at the buffet line for our friends and neighbors.

All hail Fargo!

"Fargo" is a good example of self-identity as a theme. Jerry gets into trouble by acting upon delusions of hanging with the Big Guys ( e.g., his father-in-law). Break that down, it's an issue of J's identity issues. Dabbling with the kidnappers, same thing: is he a good guy just using bad guys to further his justifiable - in his eyes - plans or maybe there is something palpably wrong with what he's doing.

Identity issues are present in most Coen bothers movies.

In my opinion, Lawrence of Arabia is the greatest screenplay ever written - well, so far. :)


When we see Lawrence for the first time, his face is obscured by his goggles. Already the theme is in motion -- WHO WAS LAWRENCE?

Outside the cathedral, people claim to know him, one calls him a shameless exhibitionist. Another tries to put it into words, but fails, "I didn't really know him".

Consider what his role is when we cut to Cairo and finally see him: A mapmaker. And what do we learn about him? Well, his dialogue suggests that he doesn't mind pain - paid off later. His occupation plays a massive role in the film as his journey across Arabia shows that he knows where to go!

When Lawrence is accepted into the tribe, he changes into Arabian attire, again theme of "WHO ARE YOU?" is working behind the veil.

Lawrence becomes God, wearing clean, robes. He flaunts his new status and supposed invincibility atop the derailed train, then he's shot and thus begins his downward spiral. He believed nothing could hurt his new identity, but the gunshot proves he's mortal and like any other man.

He loses his compass in a sandstorm (moral compass), both his servants (his worshippers) die.

He endures pain in a Turkish camp.

He shoots Gasim, the one he saved earlier in the Anvil. He has forced himself to forget who he was.

Lawrence, from being God, becomes the devil. His fights become incredibly bloody.

All these scenes and sequences ring the theme bell "WHO WAS LAWRENCE"

There's so much more, but I'll leave it for another day. I quite fancy watching the film again and writing a definitive list of the scenes' relation to the themes.

I apologise for the puns, some were definately intended. Hehehehe.

I nominate Jeffrey's response for comment of the year - very entertaining and insightful.

(Don't worry, Scott, you get runner-up for your response to his response.)