by Samuel Nichols, Contributing Writer
We all want what we are due. Work 40 hours, get paid. Take a nap, feel rested. Buy an asset and invest in it, it becomes more valuable. But when someone comes along and takes away what we are owed, we can all turn a little crazy. Might say or do something we regret, like kidnapping. A normal person might reflect back on kidnapping someone for ransom and realize their error. But Tony Kiritsis from Gus Van Sant’s new movie Dead Man’s Wire isn’t a normal protagonist.
After losing out on the business deal of his life, Kiritsis (Bill Skarsgård) makes a play to get back property and potential earnings he’s lost. He goes to the bank he’s loaned from and kidnaps Richard Hall (Dacre Montgomery), son of CEO M.L. Hall (Al Pacino). After getting through the city with Richard in a “shotgun collar,” Tony makes clear that he wants his old property back, funds that he would have earned, and an apology from M.L. The situation leaves Richard’s life at the whim of a very dangerous man.
Turns out, Dead Man’s Wire is based on a true story that happened in Indianapolis, in the 1970s. The set designers and costume coordinator went above and beyond to capture the feel of the decade. Especially the costumes which feels just right for both heroes and villains. But the cinematography also has a period specific nature. There are occasional film burns, and I appreciated the grainy look. Occasionally there are freezeframe moments that feel like attempts to recreate what a newspaper photograph would look like. These creative touches add a lot.
Conversely, the themes of the movie feel timeless. It is quite literally a tale of David versus Goliath as Tony tries to take on the bank. A man trying to take a stand against a system of oppression. Simultaneously you have a more intimate story of man versus man in Rich just trying to survive Tony’s aggression. Standing against a money-making machine that has wronged you is a noble thing; What the wealthy do to one of us they do to all of us. However, it’s hard to stand behind Tony when he takes someone captive at gunpoint. His manic energy fails to be supported by theology or ideology, but it does show his desire to get even.
What I cannot dispute is Skarsgård’s performance. He infuses Tony with an energy that is all too familiar. He’s the kind of person that we all might know. Upset because he thinks he’s been wronged and the more you hear him out the more reasonable he starts to sound. Maybe he did get backstabbed or taken for a ride. He has a “woe-is-me-esque” personality, but he is not a sad sack. He’s angry about this and wants it made right. Pulling off this role is not a shock when you remember Skarsgård plays a nigh-immortal killing machine cosplaying as a clown from Maine every few years.
Playing against what he’s best known for is Montgomery. Rich may not be the lead, but he has nearly as much screen time as Skarsgård. The hostage role requires more nuance because at times there is fear, then anger, maybe a glimmer of understanding for your captor, and exhaustion from all of the above. When all I had in reference for Montogomery is Billy from Stranger Things, giving him a meaty role like this seemed like a risk. But it paid off in spades. He delivered at all times and made himself a very believable victim. You can see the panic through his hesitancy, the fear through his trembling, and the emotions conveyed through his eyes put the subtlety of his talents on full display.
While these two are thriving in the spotlight, the supporting cast is largely wasted. Pacino’s laid-back demeanor, in the face of this crisis, is the perfect foil for Tony’s manic energy. But Coleman Domingo feels as tertiary as possible. He plays radio DJ Fred Temple, a favorite of Tony’s, who does get a couple moments to speak reason to Tony, but little else. Having seen the Christmas special of Euphoria, I know that this is below his pay grade. Up and comer Myha’la of Industry and Dumb Money gets to play a reporter and has less screen time than the shotgun Tony has pointed at Richard. Last and most bizarre is Cary Elwes as detective Grable who was on scene when Richard was kidnapped and was hardly recognizable thanks to his bad wig. None of these are poorly written, there are just too many supporting roles trying to get on screen to make any of them interesting to watch.
Perhaps the greater point is how messy this entire violent encounter can be. There are no real heroes and just selfish people trying to make a point. One wants his money and another his life. A lot of people are just witnesses to a bizarre chapter in American history. People will remember it but it will pass on like anything else. But the astonishing and dangerous nature of the story should be remembered. If for no other reason than to remember how we are all capable of hurting each other.
Rating: Liked It
Dead Man’s Wire is currently playing in theaters
You can read more from Samuel Nichols, and follow him on Letterboxd