IT CAME FROM THE BOTTOM SHELF!

In the early 70’s, producer Ely Landau envisioned The American Film Theatre, an experiment in which classic plays would be filmed with top-notch actors and screened during a two-day limited engagement for subscribing ticket-holders. The project ran for two seasons before it folded under a pile of debt and lawsuits. The fourteen films that were produced under the AFT banner ranged in quality from great to lousy, but most critics agree that the best of the bunch was John Frankenheimer’s 1973 production of Eugene O’Neill’s The Iceman Cometh.

In a squalid skid row bar in 1912, a group of whiskey-sodden lowlifes, anarchists, and floozies hang out in anticipation of the semi-annual visit of well-heeled salesman Theodore “Hickey” Hickman (Lee Marvin). However, when their friend finally arrives, he is more interested in dispensing salvation than the usual free drinks. The newly-sober Hickey is convinced that he can help his drinking buddies–not by convincing them to give up booze but by compelling them to set aside the pipe dreams that he believes are the cause of their discontent. Not only are the regulars at Harry Hope’s saloon uninterested in buying what the salesman is selling, Hickey’s own sales pitch may be just another pipe dream.

Running a full four hours, The Iceman Cometh takes a certain level of dedication from its audience. The story is extremely bleak and O’Neill, an author that could have used a good editor, has a tendency to hammer the same points repeatedly. That said, the film itself is every bit as good as its reputation. Frankenheimer does a marvelous job at making a one-set play visually interesting on film, and the cast he selected couldn’t be better. While some critics of the time were disappointed that Jason Robards, who had starred in a legendary “Off Broadway” production of the play, was not cast in the role of Hickey, Lee Marvin brings just the right combination of pitchman and revivalist minister to the role. In addition, the supporting cast (who receive a lot more screen time than Marvin) is stacked with familiar faces, such as character actors Sorrell Booke, Clifton James, the always excellent Moses Gunn, and a fresh-faced Jeff Bridges. They are excellent across the board.

Best of all are the performances of Robert Ryan and Fredric March in their final screen roles. Ryan was always good, but March is a revelation in the role of agoraphobic bar owner Harry Hope. With a grizzled look and a believable Irish brogue, March is nearly unrecognizable in the part.  In fact, the first time I watched the film, I didn’t recognize March until halfway through the running time.  It is a completely naturalistic performance–his personal best and one of the best ever committed to film.

In terms of alcohol content and downbeat drama The Iceman Cometh can hardly be matched.  For its fine acting, direction, and beautiful dialogue, this film adaptation is a “must see.”

USA/239m./Dir: John Frankenheimer/Wr: Thomas Quinn Curtis (based on the play by Eugene O’Neill)/Cast: Lee Marvin, Frederic March, Robert Ryan, Jeff Bridges, Tom Pedi, Bradford Dillman, Moses Gunn, Sorrell Booke, Clifton James, John McLiam, Hildy Brooks, Juno Dawson, Evans Evans, Stephen Pearlman

For fans of: If you are a fan of Lee Marvin, Robert Ryan, or Fredric March, you do not want to miss these performances.  Of course, fans of the American theater should also consider this film required viewing. 

Video: Kino Lorber will release The Iceman Cometh (1973) on Blu-ray under their Kino Classics imprint on March 26th.  The 2-Disc set includes both the 178 minute original theatrical version and the 239 minute director’s cut on separate Blu-rays.  While both versions of the film have been given a 2K restoration, viewers should temper their expectations a bit when it comes to the picture quality.  The film was produced on a very low budget on a single dimly-lit set, so it has never looked particularly beautiful.  That said, the original 178 minute theatrical version is very sharp, free of debris, with evident film grain, and it is colorful (within the limited spectrum of dingy browns in which it was filmed).

The video on the 239 minute director’s cut is more problematic.  The sections that were retained in the theatrical version look just as good as they do on the other disc, but the extra 61 minutes of footage is in far worse shape.  The extra scenes display less grain, are more washed out, display scratches and speckles, and are often darker (or occasionally lighter) than the surrounding footage.  These transitions often happen in the middle of scenes or in the middle of paragraphs of dialogue, so the erratic viewing experience takes a bit of getting used to.  I’m guessing that the original elements of the trimmed scenes no longer exist, and the longer version was cobbled together using whatever second, third, or fourth generation prints were available.

I am grateful that Kino Lorber decided to include the extended director’s cut despite the inconsistent film elements.  While the viewing experience is not ideal, I recommend watching the 239 minute director’s cut, as it is closer to the text of the original play, and it reinstates some incredible acting from the stellar cast.

Here are the full contents of the Kino Classics release:

DISC ONE

• New 2K restoration of the complete 239-minute director’s cut
• Optional English SDH subtitles

DISC TWO

• New 2K restoration of the 178-minute theatrical version
• Interview with Edie Landau
• “Ely Landau: In Front of the Camera,” a promotional film for the American Film Theatre
• Optional English SDH subtitles
• Trailer Gallery

Streaming: At the time this review was written, The Iceman Cometh was not available to rent or purchase anywhere in digital streaming format.

More to Explore: If you want to compare Lee Marvin’s performance to Jason Robards’ celebrated 1956 “Off Broadway” portrayal of Hickey, you may want to view the 1960 television production, directed by Sidney Lumet, in which Robards revisited the role.  Robards also appeared in Eugene O’Neill’s story of a shattered American family, Long Day's Journey Into Night, which was filmed in 1962.

Trivia: Tom Pedi, who plays the part of bartender Rocky “Don’t Call Me a Pimp” Pioggi, played the same role in the original 1946 staging of the play on Broadway.  Not only did he reprise the role in Frankenheimer’s film; he also was in the cast of the 1960 television production.

For more info: Even in the four hour version, John Frankenheimer’s 1973 film is an abridged adaptation of The Iceman Cometh.  You can find the full text within Eugene O'Neill : Complete Plays 1932-1943 from Library of America.