Der Eismann kommt

In May of 1999, I commented on the 1973 version because this great version was not yet posted in the IMDb. I have recently returned to the IMDb and am pleased to see this here - (I congratulate the IMDb staff).

I stated before that I found this version better even though the 1973 version is also excellent. Robards deservedly owns the role of Hickey. I also have seen the play on Broadway and find this TV production awfully close or equal to the Broadway production experience. In addition, while reading this play after seeing the TV production, I found myself feeling the same vividness and excitement as watching it. Nothing was lost and in some ways, the experience was even better. If you want to see what I believe is the greatest American play, try to get your hands on this version. I would appreciate if you also let me know how - a fan helped me out and I now have a copy - the IMDb serves us well.

I just saw the Kennedy Center honoring of Jason Robards Jr. and seeing just a short cut of this Hickey performance confirmed my wish to have the chance to see this TV "Play of the Week" version again and again.

Looking for reasons why DVD is so great ? Don't look any further, here is one. And very poignant indeed. Of course the black & white rendering of a play televised in 1960 is lacking in technical refinement. How else could it be.

The acting (and directing) however makes this document unforgettable. There is not one weak link in the cast; a very young Robert Redford is an eye-catcher, but the performance of Jason Robards is nothing less than sheer perfection. This is a true gem.

It has apparently been recorded both on kinescope and videotape. Strangely, when Jason Robards was honored at the Kennedy Center back in 1999, an excerpt of his performance was shown from the kinescope, but the marvelous DVD is taken from the pure, 2-inch, videotape. Thank God this has remastered for future generations. You can tell this was a major TV event, as it is surprisingly mature (an introduction and disclaimer, probably referring to some of the language, was in order for the 1960 viewers). But it is pure, silky-smooth theater, with special kudos going not only to Robards but to Myron McCormick, James Broderick, and a disgustingly young Robert Redford (who debuted a year earlier in a production of "Playhouse 90 "). This is something special, best watched on a snowy Sunday afternoon with lots of popcorn- and maybe a bit of champagne.

Parritt to Larry: "I'm scared of him, honest. There's something not human behind his damned grinning and kidding". He's talking about Hickey, and the audience feels the truth in the remark. I don't feel at ease at any moment of the play when Hickey is holding forth, supposedly forcing the others to face their self-deluding. He REALLY protests too much. I think the play is really about Larry--the emotional center of it seems to be him--and the time spent with Hickey's raillery is just wasted for me.

The second criticism: there are just too many characters demanding our attention. Joe, Jimmy Tomorrow, the Captain and the General, Chuck and Cora: why must we be interested in them? O'Neill had a bad habit of writing tracts for our times, fleshed out with superfluous characters.

With all this said, I did enjoy the acting very much. Myron McCormick is splendid as Larry, just cynical enough to make his distance from Parritt believable. Robards uses his voice better than I remember from his other film roles. Tom Pedi as Rocky is roly-poly fun and menace. James Broderick wails and mumbles through his part as Willie, the sickest of the booze hounds. Only Redford seems ill at ease; he knows Parritt is a creep, but he can't do anything with creeps.

Jason Robards' performance as Hickey in the original stage production of "The Iceman Cometh" sealed his reputation as one of the finest actors of the twentieth century and helped to secure O'Neill's as one of America's greatest playwrights. I was fortunate enough to see Robards in the mid-80's revival of the play on Broadway, and his advanced years seemed so relevant to his interpretation that I couldn't imagine what his Hickey might have been like a quarter of a century earlier. Thankfully, this recently released DVD of the 1960 version directed by Sidney Lumet for Public Television has preserved that performance for posterity, and it is truly an unforgettable one. John Frankenheimer's film version of the play is currently unavailable, but one looking for the best possible production need look no further than here.

Robards is matched by a cast that is equal to the challenge of sharing the stage with him. Broadway veterans Myron McCormick, Tom Pedi and James Broderick are magnificent as, respectively, Larry, Rocky and Willie. It is also a treat to see Julie Bovasso and Joan Copeland on hand as two of the bar's unforgettable tarts. Best of all, the young Robert Redford is a terrific Parritt. He looks, if anything, even more handsome than he would when he catapulted to stardom later in the decade, but the true surprise is how powerful his acting is. Parritt is arguably the most demanding role in the play - it left the two talented actors I saw attempt it on Broadway at sea - and Redford is just perfect, giving a riveting and multi-layered performance.

Credit must be given to director Sidney Lumet for filming this production so effectively. There is enough of a sense of live theatre about it to make it compare favorably to an actual live performance, and his selective camera work only enhances this feeling. This production should be seen by all who are fans of Twentieth Century Theatre, and is an absolute must for fans of Eugene O'Neill. One wonders if the powers that be at PBS had any idea of the gift they were passing down to subsequent generations. They earned whatever they ask for in their next pledge drive with this production of "The Iceman Cometh".