The Iceman Cometh

1973 "They drank and they dreamed...tomorrow they would conquer the world...then along came Hickey."
The Iceman Cometh
7.2| 3h59m| PG| en| More Info
Released: 10 November 1973 Released
Producted By: The American Film Theatre
Country: United States of America
Budget: 0
Revenue: 0
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Synopsis

Set in 1912, inside a dive bar named The Last Chance Saloon, its destitute patrons eagerly await the arrival of Hickey, who arrives annually and props everyone up with free drinks and spirited stories of his travels. However, when Hickey does show up this year, it is with a message of temperance and an exhortation to give up hopeless dreams and face reality.

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crafo-1 I have to confess right off the bat that I love O'Neill and this play is certainly one of the grandest of them all, but I am also one of those that would have preferred to see Jason Robards in the Hickey role. I did see Robards play it on kine scope and thought he was about as right as it gets.Having said that, Lee Marvin does admirably in this huge role. My expectation were low but I was not disappointed. I even thought he brought a level of menace to the part that might have been missing with another actor.It is a grim play. Nothing cute about this bunch of burn outs and hardcore drunks. Not easy to view and experience and very long! (I watched it in 3, count them, 3 sittings! Special praise goes to Robert Ryan, in one of his best roles ever and a very young and vibrant Jeff Bridges who comes through against a long array of seasoned performers.I do not think I have ever heard the word "pipedream" more. It occurs again and again and with purpose and sadness.Although this work has a half a ton of drunks and losers, it is not for the partying JERSEY SHORE crowd. This is highbrow epic stuff.Bravo!!
Roger Burke While I don't cover much of the plot in this long film, I do try to explain the philosophy that underpins why a bunch of drunks are sitting around a bar, in 1912 New York, waiting for their friend, Hickey, to arrive. If you'd rather see the film first, then read no further.*** When I saw this 1973 film in the seventies, I thought it was an interesting, if long-winded, exposition about the evils of alcohol addiction and sloth, and not much else. Being in my early thirties then, y'see, I was more interested in less depressing topics.Recently, however, I obtained a DVD and decided to have another look. When I finished I realized, of course, that the play is indeed much, much more than my first, immature assessment. In fact, as I watched, it became very clear to me that the whole play is an allegory that plays – no pun intended - with the biblical John the Baptist, The Last Supper, and the betrayal by Judas Iscariot.Intrigued by those thoughts, I searched the internet for O'Neill biographies (as I knew next to nothing about him) because I had an idea that O'Neill had been a Catholic who'd rebelled and that he had fully intended his play to (almost) parody those religious icons. Various search results confirmed O'Neill's religious background and his rejection of Catholicism while the following, from another online source, supports the idea of a religious underpinning for the play:• "The Iceman Cometh, the most complex and perhaps the finest of the O'Neill tragedies, followed in 1939, although it did not appear on Broadway until 1946. Laced with subtle religious symbolism, the play is a study of man's need to cling to his hope for a better life, even if he must delude himself to do so." So, yes, the play is about a lot of drunken loafers in various stages of despair, but they all represent the status of humanity, according to O'Neill: besotted by its own self-delusion and self-pity.Consider Hickey (Lee Marvin, in a truly great performance) as a modern rendition of the biblical John: the quintessential salesman, the sharp-talking shark who can tear you to pieces verbally, and the man who has the message that will save you; yes, you twelve, you drunken bums, sitting on your asses twenty-four-seven, drowning yourselves in your collective delusions. Forget your pipe-dreams, says Hickey, stand up for yourselves, on your own feet, and get out there and face the world, the new world that is dawning for each, if only you would act! But first, you must give up the first, and maybe worst, crutch: booze. Because, continues Hickey, I've seen the light and I've given up drinking – ah, well, except for the odd, important and festive occasion, y'know...So what could be more important than a birthday party for Harry Hope (Frederic March), the bar owner without hope, who hasn't stepped outside since his wife died twenty years earlier? He and the other eleven men in that bar have been waiting and waiting for Hickey to come and lavish his eloquence (and drinking money, of course) upon them all.So, Hickey delivers, and then some, by convincing them all, except Larry Slade (Robert Ryan in his best-ever performance), in a moving - literally and figuratively - tirade during and after that Last Supper that Hickey will ever attend at this bar. Why last? Because Hickey has an unsavory secret that shocks them all, (except Larry) to the core when he is forced to reveal it and, in doing so, they all (except Larry again) reject Hickey's promise of personal salvation. Hence, when Hickey meets his fate with the law, as did the biblical John, and the bums go back to their booze and their delusions, Larry is the only one to realize that he can no longer remain on "the grandstand of philosophical detachment" and must act now according to his convictions.Ironically, Larry's decision seals the fate of Don Paritt (a very young Jeff Bridges), a thoroughly unlikable coward and betrayer of lost causes. Lacking true courage to initiate the action to atone for his crime, Don beseeches Larry to decide for him, with the inevitable result. And, as Larry savors his new found "freedom", such as it is, he looks through the window, and specifically away from his one-time drinking partners who are all now busily, once again, deluding themselves with drink.As the epitome of a modernity that rejects religion, Lee Marvin says it all, with consummate skill and panache; only Robert Ryan's Larry (O'Neill's alter ego), perhaps as a counterpoint to the biblical Peter, sees Hickey's message for what it truly is – a rejection of that "opium of the masses" as Karl Marx opined - and finally decides to act for himself. The other ten 'apostles' at the bar are lost souls because it's sufficient for O'Neill, in my opinion, that Larry finally woke up; the rest of the world can live in Hell.What's missing – or, rather, who's missing – from this whole play is, of course, a Christ-figure. Again, given O'Neill's view of religion as a delusion, that is entirely fitting.The setting – all in one long, dark and moody bar – the directing from Frankenheimer, the photography that uses long takes and medium closeups throughout, the production standards, all add up to an experience that is only rarely presented. And, without a doubt, all of the actors performed to the peak, I think, of their prowess.Highly recommended for all theatre and cinema buffs.I must now, of course, search for a DVD of the 1960 version and prepare a comparative review.
clotblaster One reviewer opines that Jason Robards' Hickey is better than Lee Marvin's. I couldn't disagree more. I have DVD's of both versions and I believe Robards is playing Robards as much as he is playing Hickey. Also, Robards strains in The Iceman that you can see he is "acting." Marvin, on the other hand lets Hickey be Hickey. One other thing makes the Iceman Cometh with Marvin far superior is the supporting class. Robert Ryan, Bradford Dillman and Frederic March give magnificent, believable performances. I think Robards believed all the reviews that said he was the ultimate O'Neill actor. By way of contrast, see Robards in Long Days Journey Into the Night where he doesn't let his persona get in the way of his role. Also, in Long Day's Journey we have an ensemble play/movie that doesn't require Robards to strain to be the great O'Neill actor.
harry-76 In 1973 when the American Film Institute's repertoire played in selected U.S. city theaters, "The Iceman Cometh" was a series standout. The film retains its effectiveness today, due to O'Neill's insightful script, John Frankenheimer's excellent direction, and a fine cast, headed by Fredric March and Robert Ryan. We are fortunate to have so beautiful a production of this classic American play preserved on film.