| The film Fargo, an Academy Award winner for Best | | | | and examining bloody corpses as if no day is different |
| Picture in 1996, has several characters that exemplify | | | | from the next ('Fargo')." However, she does take a |
| the first process premise of needs, in turn making this | | | | rather stern tone with Lundegaard when she is |
| film persuasive. This film is based around the life of a | | | | interviewing him about the murders, this tone signifies |
| man named Jerry Lundegaard, whom is deep in debt | | | | one of her many attempts to gain ego gratification. |
| and is married to a woman whose father has no | | | | Creative Outlets is a need, which many movie viewers |
| respect or admiration for him. His typical day at work | | | | can easily relate to. This need is one where we seek |
| involves ripping customers off at the car dealership | | | | to be recognized for out own individual |
| where he works as the head sales manager. | | | | accomplishments. Straying away from Lundegaard |
| His need for respect and money leads him to hire an | | | | and Gunderson for a moment, the role of the 2 |
| ungainly pair of men to kidnap his wife so that he can | | | | kidnappers must be evaluated regarding this need. The |
| collect ransom money. Unfortunately, his personal | | | | 2 kidnappers represent a stark contrast in personalities. |
| needs lead to a homicide spree throughout Fargo, | | | | One is a very quite, large, bold, and threatening looking |
| North Dakota. Determined to solve any case | | | | man that tends to keep his public appearance in check |
| bestowed upon her, Marge Gunderson, the police | | | | throughout the movie. The disparity between the two |
| officer from Brainerd, Minnesota, seems to walk onto | | | | is seen in the second kidnapper's personality and |
| the scene of a multiple homicide - which sparks her | | | | attitudes. He is maintains a smaller build and can be |
| quest to find the murderer. The two whom kidnapped | | | | characterized as a hyper and attention seeking |
| Lundegaard's wife seem to end up in more trouble | | | | individual. |
| than the ransom money is worth. Eventually, | | | | Through the second kidnappers attention seeking |
| Lundegaard is taken in for conspiring and kidnapping, | | | | comments - we can see his desire to be recognized |
| while the other two hoodlums that carried out the | | | | for his ideas, reasoning, and general beliefs. Several |
| kidnapping and murders throughout the movie, one dies | | | | instances when the two are traveling together, he will |
| at the hand of the other, and the surviving one is taken | | | | make a comment; when he is ignored by the first |
| to jail. | | | | kidnapper, the second kidnapper will make a comment |
| Process premises are very relevant to this movie's | | | | about him [the first kidnapper] not listening to him. |
| persuasive appeal - as several characters appear to | | | | Further, he will badger him for being so quite and uses |
| be engulfed by their own personal needs and desires. | | | | this type of communication to stress that he is capable |
| "Process premises rely on psychological factors that | | | | of formulating ideas on his own. |
| operate in nearly all persuaders (Larson 147)." In this | | | | The need for Love Objects is experienced through |
| movie, the director uses several process premises to | | | | Gunderson's relations with a past friend from her |
| persuade our emotions into allowing us to relate to and | | | | earlier years. The importance of love objects is felt by |
| enjoy this film. Specifically, needs, the first process | | | | any person whom seeks the feeling of belonging. |
| premise, are used as a persuasive tool, "Each of us | | | | Gunderson seeks this feeling, and in trying to fulfill it she |
| has a set of individual needs. Some of them are critical | | | | meets up with an old friend. The feeling is felt- but too |
| to us - we can't live without them (for example. food, | | | | strong for her own comfort when then guy she is |
| water, clothing, and shelter). Others are not critical - we | | | | meeting comes on to her and tries to put his arm |
| can get along with out them, at least for a while | | | | around her. This is an example of a failed attempt to |
| (Larson, 152)." This type of persuasion is key, "To be | | | | fulfill one of Gunderson's needs. |
| really effective, persuaders [authors, producers, or | | | | Power is one of the most important aspects of |
| advertisers] must successfully determine their | | | | conversation and even broader, our existence in |
| audience's needs (Larson, 152)." Due to the individual | | | | society (Anjek). The need for a Sense of Power goes |
| nature of human beings, we all have several different | | | | beyond control, and into the realm of satisfying several |
| priorities. However, the needs that we all feel are | | | | other needs by establishing power. Lundegaard seeks |
| similar in nature and can be explained by several | | | | out the fulfillment of several needs; emotional security, |
| different theories. | | | | ego gratification, and reassurance of worth through the |
| Through examining the first process premise of needs, | | | | use of money to establish power. He believes that |
| Packard's Eight Compelling Needs expose several | | | | money will be the encompassing solution to his |
| needs when looking at the personalities and emotional | | | | problems. The ends do not justify the means, however, |
| needs of two main characters in the film Fargo. | | | | in this situation. Kidnapping and holding his wife ransom |
| Lundegaard and Gunderson, both fulfill several of | | | | to gain financial power is not justified by his need for |
| Packard's Eight Compelling Needs, which are: | | | | gaining financial power. The relevance of his needs to |
| The need for emotional security, the need for | | | | the viewers of this film is summed up through Larson's |
| reassurance of worth, the need for ego gratification, | | | | statement; "We Americans, perhaps more than |
| the need for creative outlets, the need for love | | | | members of any other culture, seem to be |
| objects, the need for a sense of power, the need for | | | | programmed to chase potency and power to gratify |
| roots, and the need for immortality (Larson, 152-160). | | | | our need for them symbolically (Larson, 159)." |
| The need for Emotional Security is defined as the | | | | The need for Roots is one need that many people |
| need to know that one is safe and secure in a world | | | | experience when they move away from home or |
| that has an abundance of threatening characteristics. | | | | work for a company that tends to transfer them to a |
| Stability and long-term prospects often are not | | | | different location frequently. "In the decade following |
| experienced, while financial strain and personal | | | | college graduation - The average American moves at |
| relationships sometimes go awry. Many different | | | | least a dozen times (Larson, 160)." The town of Fargo |
| factors put our emotional security at risk. | | | | is portrayed by the director in a washed out tone |
| Lundegaard, his wife and one son are not doing very | | | | though the blinding white of the snow. Occasionally the |
| well financially and his work situation seems to be | | | | film's director paints the scene with the dull grays and |
| deteriorating (Weaver). His security for his family and | | | | browns of police uniforms and winter jackets. The |
| self are not just at risk, but in a more miserable state - | | | | slow pace of the film reflects the town's remote |
| his security has been torn. Leaving him no choice but | | | | location and unhurried ambiance. The town is a perfect |
| to seek out other ways of ensuring emotional security, | | | | stereotype of the small town that many people in |
| Lundegaard stages a kidnapping in order to receive | | | | America have left behind as they have grown older |
| ransom money from his wife's father with the hopes | | | | and moved to more populated areas of the county. |
| of alleviating his problem and gaining back his emotional | | | | This setting offers viewers a chance to relate and |
| security. | | | | reflect on their own experiences, further persuading |
| The need for Reassurance of Worth can be | | | | the viewers to feel the needs and emotions felt by the |
| described as the need to feel that you have | | | | characters in the film. |
| accomplished something and that the tasks, which you | | | | "None of us wants to believe in out own mortality |
| complete, are of value. This concept is well described | | | | (Larson, 160)." The need for Immortality is a need |
| by Packard: | | | | shared by the characters in this film and the majority |
| ... people need to feel valued for what they do | | | | of the persons viewing the film. "Studies have show |
| - whether it is in a factory, at a desk, in a classroom, or | | | | that only the fear of giving a speech, exceeds the fear |
| in a day-care center. Housewives, blue-collar workers, | | | | of dying. (Larson, 160)" The fear mortality shines |
| managers, and public sector workers all need to feel | | | | through Lundegaard and Gunderson in their quests for |
| that they are accomplishing something of value, are | | | | an ego boost, love, self-worth, and the realization of |
| needed by their families and organizations, and are | | | | most of the needs outlined by Packard's Eight |
| appreciated by others (Larson, 155). | | | | Compelling Needs. At several points in the film, each of |
| Lundegaard is subject to this need for similar reasons | | | | them say, do and make decisions that will prolong or |
| as the first need of emotional security. His job, even | | | | enhance their lives. |
| though he is the "head sales manager," does not give | | | | Although Packard's Eight Compelling Needs explain the |
| him any fulfilling rewards or any sense of | | | | motives of the characters in the film Fargo, it is |
| accomplishment that Packard outlines as important | | | | important to note that these needs also coincide with |
| feelings that are desired and needed by all persons. | | | | Maslow's Pyramid of Needs. These needs include |
| As a way to battle his lack of worth, you can catch | | | | from the lowest level to the highest: Basic |
| the character's eyes gleaming with joy and his face | | | | Psychological needs, Safety and Security needs, |
| light up with a smile when he has accomplished | | | | Belongingness and Love needs, Esteem Needs, and |
| something that he feels as important. In his own way | | | | Self-actualization needs (Larson, 161-166). Maslow |
| he is attacking the lack of accomplishment and through | | | | argues that humans will first fulfill the needs at the |
| his outwardly appearance, this is notable. One of the | | | | bottom of the pyramid, or the basic psychological |
| key reasons that Lundegaard stages the kidnapping is | | | | needs. Moving up, eventually to self-actualization needs, |
| to hide from his wife that he is having financial troubles | | | | people move through several different needs, each |
| and to reassure her that he is capable of supporting | | | | one requiring different solutions and fulfillment |
| the family. This reason stresses the need for | | | | strategies. Each of Packard's Eight Compelling Needs |
| reassurance of worth- a need that many people feel | | | | concur with Maslow's Pyramid of Needs, however |
| lacking in their own lives. | | | | Maslow goes further to explain the order which people |
| Ego gratification is the third need that Packard believes | | | | will fulfill these needs. |
| is a need shared by all individuals. This need states the | | | | The persuasive strategies used in the film Fargo take |
| simple fact that people like to be brought up | | | | advantage of the Process Premises, specifically |
| emotionally, and given extra value through compliments, | | | | needs, outlined by Packard and Maslow. The |
| which will increase their own self worth and ego. Self | | | | persuasive techniques used in Fargo rely heavily on its |
| perception is often the culprit of a low self-esteem - | | | | audience. "...The first premises serve as springboards |
| this issue can often be alleviated through the careful | | | | for persuasion in enthymemes...these needs whether |
| "'stroking' [and making the person]... feel as if they are | | | | identified by Packard's list or Maslow's Pyramid or |
| really special - a step beyond mere self-worth. (Larson, | | | | some other model, are strongly felt by audiences |
| 156)" | | | | (Larson, 166-167)." Our emotions allow us to relate to |
| Gunderson's job as police officer in a small town in | | | | the characters and the needs, which they seek to fulfill. |
| Minnesota leaves her ego slightly battered due to a | | | | When the audience of a film can relate to the |
| lack of uplifting comments. The film does not state | | | | characters, they are persuaded to emerge |
| whether she has a family- so it is safe to assume that | | | | themselves into the film and experience the same |
| ego gratifying comments must come from friends or | | | | feelings and emotions of those characters. Audiences |
| colleagues. However, working for a police force in a | | | | of this film were divided when it was release, many |
| small town probably does not give many chances for | | | | could not grasp the comedic seriousness of the movie, |
| these types of comments. Gunderson uses her own | | | | but the persuasive power of relating to the viewers |
| expertise and the way she carries herself throughout | | | | general needs allowed for the films success. The |
| the movie to give a boost to her ego. Gunderson "just | | | | needs and desires of each character, specifically, |
| goes about her everyday business, eating (in nearly | | | | Lundegaard and Gunderson, outline these persuasive |
| every scene), talking to the people in the community, | | | | strategies. |