Gus Van Sant’s latest film, ‘Dead Man’s Wire’, is a gripping tale that resonates with today’s societal challenges, showcasing a true story of desperation and corporate betrayal.
‘Dead Man’s Wire’ Review: A Timely Tale of Desperation
Gus Van Sant returns to the Venice Film Festival for the first time in over 30 years with an out-of-competition entry, Dead Man’s Wire, which feels ripped from today’s headlines. This is particularly relevant as the “little guy” increasingly feels cheated by corporate America, exemplified by the recent cold-blooded murder of United Healthcare CEO Brian Thompson on the streets of NYC, allegedly gunned down by Luigi Mangione in broad daylight. Mangione has since become a folk hero for many as he awaits trial.
A Story of Hostage and Desperation
Van Sant’s film was in the works and began shooting before these events unfolded, yet it resonates with the theme of art imitating life, both past and present. Set in 1977, it is based on a true incident that gained infamy at the time. On February 8, Tony Kiritsis (Bill Skarsgård) calmly entered the Meridian Mortgage Company in downtown Indianapolis to confront Richard Hall (Dacre Montgomery), the business owner he knew well. After entering the office, he brandished a 12-gauge shotgun connected to a wire around Hall’s neck, making his demands clear: $5 million, a guarantee of no prosecution, and an apology from M.L. Hall (Al Pacino), Richard’s father, for cheating him.
The Tension Builds
Hall was understandably terrified; any sudden movement could cost him his life. Kiritsis marched Hall through the office and onto the street, unafraid of police intervention. Slowly, officers began to arrive, including a local cop whom Tony trusted, as the media descended on the scene. Among them was Linda Page (Myha’La), a reporter eager to break the story. Initially sidelined by her superiors, she resolved to prove her worth.
Complications Arise
Local jazz radio DJ Fred Temple, a fan of Tony, was brought into the hostage crisis to mediate between Tony and the police. As the hours passed, Tony insisted on speaking to Hall on the phone for his apology, but complications arose when the father refused to comply, despite his son’s life hanging in the balance. The situation unfolded like a circus, broadcast live on television.
Comparisons to Classic Films
Fans of Dog Day Afternoon will find parallels in this story, which raises questions about inspiration and timing. Although the film’s producers cast Pacino, Van Sant insists they never discussed the earlier film. The intersection of real-life events, such as the Mangione incident, with the film’s production, highlights the growing discontent among ordinary people feeling exploited by corporations. This narrative, decades in the making, feels more relevant than ever.
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Performances and Production
Skarsgård delivers a convincing performance as Kiritsis, embodying the swagger of a man who feels wronged and desperate. Montgomery excels as his victim, navigating a dire situation while dealing with an unsupportive father. Pacino’s brief yet impactful role adds depth, and Colman Domingo and Myha’La shine in their respective parts. The screenplay by Austin Koldney marks a solid return for Van Sant, who has faced mixed reviews in recent years. While it may not reach the heights of his best works, it stands out as a noteworthy indie film.
Film Details
Title: Dead Man’s Wire
Festival: Venice (Out of Competition)
Director: Gus Van Sant
Screenwriter: Austin Koldney
Cast: Bill Skarsgård, Dacre Montgomery, Colman Domingo, Cary Elwes, Myha’la, Al Pacino, Kelly Lynch.
Sales Agent: WME
Running Time: 1 hr 44 mins
