
In 1912, the patrons of 'The Last Chance Saloon' have gathered for their evening of whiskey to contemplate their lost faith and dreams, when Hickey (Lee Marvin) arrives. Hickey is out to convince everyone that he can help them all find peace of mind by ridding them of their foolish dreams and bringing them back to reality. Hickey works especially hard on Larry Slade (Robert Ryan) a former anarchist who has lost his passion for life and is awaiting the eventuality of death. La... (Full plot summary below)
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In 1912, the patrons of 'The Last Chance Saloon' have gathered for their evening of whiskey to contemplate their lost faith and dreams, when Hickey (Lee Marvin) arrives. Hickey is out to convince everyone that he can help them all find peace of mind by ridding them of their foolish dreams and bringing them back to reality. Hickey works especially hard on Larry Slade (Robert Ryan) a former anarchist who has lost his passion for life and is awaiting the eventuality of death. Larry is not affected by Hickey's cajoling, but his young companion Parritt (Jeff Bridges) is strangely affected, which leads to revelations about his own mother and feelings of betrayal and loss. As the night wears on, the mood changes as everyone has the their faith and dreams slowly destroyed by Hickey. As the anger builds, everyone turns on Hickey about his wife and the iceman. This leads to more revelations and Hickey having the faint questioning of his own newfound convictions.
Leave your thoughts about The Iceman Cometh.
| Chicago Sun-TimesRoger EbertFor four hours we live in these two rooms and discover the secrets of these people, and at the end we have gone deeper, seen more, and will remember more, than with most of the other movies of our life. |
| Portland OregonianMarc MohanThe play is an inescapably great experience, and that fact isn't muffled by this film. |
| Los Angeles TimesSusan KingThough some consider this one of Eugene O'Neill's finest plays, The Iceman Cometh does not translate well to the screen. No matter what Frankenheimer pulled from his bag of directorial tricks, the work remains stagey and talky on celluloid; even the majestic talent of March cannot turn it around. |
| The New York TimesVincent CanbyFrom the opening frames of John Frankenheimer's film version of Eugene O'Neill's The Iceman Cometh, you get the feeling that you're being taken on a guided tour of one of the greatest American plays ever written, instead of seeing a screen adaptation with a life of its own. |