By Calder Stenn, Editor-in-Chief
“Anger begets anger,” said the shallow 19-year-old girl dating protagonist Mildred’s (Frances McDormand) ex-husband. Despite the girl’s simplistic portrayal throughout “Three Billboards outside Ebbing, Missouri,” these words of wisdom in the film’s final act touch on the core message behind the masterful, Coen Brothers-esque comedy Martin McDonagh has produced: revenge only leads to more revenge.
“Three Billboards outside Ebbing, Missouri” follows the story of Mildred Hayes, a single mother who has just recently lost her daughter to a horrific rape incident after which the perpetrator burned her body.
Infuriated by the town police’s lack of progress and racist reputation, Mildred puts up three large red billboards that call out the authorities’ wrongdoings. This sets off a back-and-forth dynamic between the police and the mother, ultimately drawing the attention of the whole community.
The conflict begins with the local police officers, Dixon (Sam Rockwell) and Willoughby (Woody Harrelson).
Dixon is a comically idiotic sheriff renowned for being racist. He is arguably the main antagonist, always trying to cover up for his wrongdoings by taking violent actions towards others (e.g. throwing an innocent man off a roof).
On the other hand, Willoughby appears to be more of a genuine character. He does want to get to the bottom of the rape case, but he is held back by a fatal health issue.
Unlike a majority of the main characters, Willoughby doesn’t really have an agenda based on vengeance, even though the audience learns early on that he is arguably faced with the worst predicament of them all.
As for Mildred, she is essentially the epicenter of the story’s moral conflict. Not only is she out to avenge her daughter’s death, but she is also the epitome of a vengeful person in general. Mildred tends to be very blunt and direct with any person she interacts with, and she really couldn’t care less about what other people think of her.
Although not incredibly evident, this lifestyle proves to get Mildred nowhere in her quest for revenge. She does make progress in trying to bring awareness to police brutality and rape in Ebbing, but at the same time, she also puts a significant dent in the town’s sense of civility.
The way the movie ends further affirms the idea that revenge is merely a circle and that nothing will actually be resolved through it.
The police are constantly trying to impede Mildred’s quest by threatening the billboard owner (Darrell Britt-Gibson) to stop helping her and by publicly ruining her reputation. In turn, Mildred continues to strike in protest, showing that her main focus is no longer solely justice for her daughter’s death, but also gaining the upper hand over the authorities and proving herself to the community.
The fact that the majority of these characters react solely with anger further fuels the circle of vengeance and speaks to the reality that acceptance is so much harder than it’s portrayed in other films with traditional plot arcs.
I personally see this movie as an Oscar contender, primarily due to its outstanding screenplay and unique acting performances.
The overall plot of this movie will certainly stand out come February, as it is one of the only major films this year to deal with themes of sexual abuse and police brutality. Both themes couldn’t be more relevant than they are right now in regards to the national news, an appeal which no critic can deny.
Furthermore, the actors provide a rare touch of authenticity to their roles that does well to stray from the generic Hollywood formula. I would be surprised if at least one of them isn’t nominated for Best Supporting Actor (Harrelson) or Best Actress in a Lead Role (McDormand).
4.5 out of 5 stars
