The Iceman: real-life sociopath and loving family man
The Iceman, from Israeli-born director Ariel Vromen, deals with the story of Richard Kuklinski, the infamous contract killer who murdered more than 100 people over the span of two decades until his arrest in 1986. Dubbed “the iceman” for his method of freezing his victim’s bodies in order to erase the time of death, Kuklinski was repetitively involved with a large number of East Coast crime families in the late 1950s.
In practically no time, Kuklinki’s criminal career turned him into a successful man, so what followed was moving his wife Deborah and their two daughters (whom he adored) into a new house in a welcoming New Jersey suburb, where they all led a happy existence (truly). In fact, for a contract killer with a family who was unaware of his doings, Kuklinski did very well, in all regards, for quite a long time. Unfortunately, he also gained some very dangerous enemies along the road, including those who once were his friends.
Based on Anthony Bruno’s reality-based crime novel and a HBO documentary, Vromen and co-writer Morgan’s loosely fictionalized screenplay is more concerned with Kuklinki’s personality, with the man, if you will, than with his criminal activities and his status as a serial killer. Which is a good thing, since there’s plenty of potentially rich material to delve into here. Most outstanding is Kuklinki’s firm resolve not to kill women or children, not even harm them in the slightest way. Above all, we’re talking about a man who only experiences feelings of affection when it comes to his family. For everybody else, he’s just a coldblooded killer.
Yet this potentially rich material is not fully explored by a screenplay that goes for the basics and nothing but. Or, better said, it pretends to go somewhere, but when you think you are about to go deeper into Kuklinki’s mind, actions and reactions, scenes are cut off somewhat abruptly, and soon the next anecdote enters the story. It’s too rushed, there’s not enough development, hence expect little dramatic drive.
The drama here is in a strong need of a better set-up but the screenplay only scratches the surface. For a character study, it lacks the kind of insight that would have turned the infamous assassin into a complex character with hidden depths. Even if this merciless killer was inscrutable, the script could have accounted for that, which it does not. It just depicts what you can see at first sight.
On the other side, what the script fails to do for Kuklinski, Michael Shannon (Revolutionary Road, The Greatest) does it for him — and very well indeed. His performance is to be celebrated for its imposing aura of underground tension and affective dissociation. I mean, you really get to see two Kuklinskis — and in a very subtle fashion too. The family manis tender, warm, respectful and loving — and unafraid to show it. But when it comes to the rest of the world (literally) what you get is a block of ice, a killing machine (unemotional as all machines) who never misses his target. The complexity of such a persona is clearly understood by Michael Shannon, with his stern looks, restrained facial expressions and imposing body language that speak volumes. This is, indeed, why the film is alive.
To a lesser degree, other cast members add their personal imprint to otherwise formulaic characters. Chris Evans is remarkable as Kiklinki’s ace partner-in-crime, as fierce as they come; David Schwimmer delivers a nuanced performance as Roy Demeo’s sloppy thug — whereas Demeo is played by Ray Liotta, with expertise but not much heart. For that matter, Robert Davi as a high-ranking criminal is surely more convincing. As for Kuklinski’s naive and adorable wife, expect a more than watchable Winona Ryder, but not more.
Come to think of it, the production design that mirrors different time periods is also a modest asset — mainly the alluring cinematography of sombre, gloomy colour shades and unsettling shadows. But the main thing, the intricacy of the Iceman's mind and heart is left pretty much unexplored.
