Dead Man’s Wire review: Van Sant tells an unbelievable true story
‘Dead Man’s Wire’ is the true story of a man who took his mortgage company to account at gunpoint in the 1970s.
Everyone has their limits. However, how someone reacts when they’re pushed to the edge depends on the individual. Some people’s tolerance extends to accommodate the increased pressure. Others may deliver a level-headed response in an attempt to obstruct the stressor. Then there are those individuals who snap. All rationality goes out the window and the only solution they see is a brash one. These reactions are not always hasty, but they’re certainly not of sound judgement. In Dead Man’s Wire, a man at the end of his rope decides the only answer left is a gun.
On a Tuesday morning in February 1977, Tony Kiritsis (Bill Skarsgård) went to his appointment with his mortgage lender. The owner, M.L. Hall (Al Pacino), is vacationing in Florida, so instead Tony meets with his son, Richard Hall (Dacre Montgomery). Then he takes him hostage. Tony feels the lending company cheated him out of a foolproof business plan for a new mall. Since all his other attempts for reparation fail, he moves on to his last resort. With a wire going from Richard’s neck to a sawed-off shotgun, Tony relocates to his boobytrapped apartment. There, he agrees to negotiate if he can relay his demands through his favourite local radio DJ, Fred Temple (Colman Domingo).
Tony knows a lot of people in the small Indianapolis suburb, including local officers and the chief of police. These people can’t believe he’d go this far. Lucky for him, Tony’s relationship with the authorities means they’re keener to avoid any bloodshed. This leads to a lot more leeway than audiences might be use to seeing. Watching police stand back and holster their weapons while Tony escorts his hostage two city blocks to a getaway car is astounding. It certainly points to a different time in citizen-police relations.
The mini story unfolding alongside Tony’s is that of a young reporter’s (Myha’la) big break. She stumbles into the hostage-taking and refuses to hand the story over to a senior reporter. She stays on the scene and gets the exclusive scoop. Notably, sprinkled throughout the film and its credits is archival news footage from real coverage of the multi-day standoff. Her desire to be involved contrasts with DJ Fred’s reluctant cooperation, a victim of Tony’s unfortunate admiration. Though, the men’s mutual appreciation for good music means audiences are treated to solid musical interludes.
Tony executes a meticulous plan. His ability to adapt when his primary target is unavailable feels deliberate rather than desperate. Skarsgård portrays a man who’s commanding in his intentions and committed to his threats. The intricate devices he uses are proof these are not the actions of a madman — even if his dark sense of humour suggests otherwise. When they rip Tony’s American dream from his grasp, he becomes certain this is the only way to get what he deserves. Poor Richard might even empathize with him if he wasn’t so afraid of dying. It only takes one phone call to show Richard’s father doesn’t reserve his callousness for his clients. Even more derisive is his pride supersedes his son’s safety.
Thus, Fred Temple becomes Tony’s sympathetic ear. Domingo’s suave demeanor and mesmerizing voice radiate from the airwaves, soothing the beast. Like the young reporter, he understands this is a career opportunity he cannot pass up. While Domingo relies on his natural charms, Cary Elwes is nearly unrecognizable as a detective trying to keep Tony alive. Dishevelled hair and an unkept beard hide the familiar face. His role diminishes as the narrative progresses, but he maintains a presence in every space he occupies.
Director Gus Van Sant’s talents lie in transporting audiences to another time and place. This film successfully conveys viewers to the 1970s, using a filter that gives the film a slightly gritty quality. The warm colours and period wardrobe complete the effect, so there’s no doubt when the story is unfolding. The authenticity allows contemporary audiences to both connect with the narrative and be astonished at its incompatibility with current times.
Director: Gus Van Sant
Starring: Bill Skarsgård, Dacre Montgomery and Colman Domingo
