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IMDbPro

The Iceman Cometh

  • 1973
  • PG
  • 3h 59min
CALIFICACIÓN DE IMDb
7.2/10
2 k
TU CALIFICACIÓN
Lee Marvin in The Iceman Cometh (1973)
A salesman with a sudden passion for reform has an idea to sell to his barfly buddies: throw away your pipe dreams. The drunkards, living in a flophouse above a saloon, resent the idea.
Reproducir trailer2:43
1 video
42 fotos
TragediaDrama

Un vendedor con repentina pasión por la reforma tiene una idea para sus amigos borrachos: abandonar sus falsas ilusiones. Los alcohólicos, que viven sobre un bar, rechazan la idea.Un vendedor con repentina pasión por la reforma tiene una idea para sus amigos borrachos: abandonar sus falsas ilusiones. Los alcohólicos, que viven sobre un bar, rechazan la idea.Un vendedor con repentina pasión por la reforma tiene una idea para sus amigos borrachos: abandonar sus falsas ilusiones. Los alcohólicos, que viven sobre un bar, rechazan la idea.

  • Dirección
    • John Frankenheimer
  • Guionistas
    • Edward Anhalt
    • Thomas Quinn Curtiss
    • Eugene O'Neill
  • Elenco
    • Lee Marvin
    • Fredric March
    • Robert Ryan
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.2/10
    2 k
    TU CALIFICACIÓN
    • Dirección
      • John Frankenheimer
    • Guionistas
      • Edward Anhalt
      • Thomas Quinn Curtiss
      • Eugene O'Neill
    • Elenco
      • Lee Marvin
      • Fredric March
      • Robert Ryan
    • 26Opiniones de los usuarios
    • 17Opiniones de los críticos
    • 76Metascore
  • Ver la información de producción en IMDbPro
    • Premios
      • 3 premios ganados y 1 nominación en total

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    Trailer 2:43
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    Elenco principal18

    Editar
    Lee Marvin
    Lee Marvin
    • Hickey
    Fredric March
    Fredric March
    • Harry Hope
    Robert Ryan
    Robert Ryan
    • Larry Slade
    Jeff Bridges
    Jeff Bridges
    • Don Parritt
    Bradford Dillman
    Bradford Dillman
    • Willie Oban
    Sorrell Booke
    Sorrell Booke
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    • (as Nancy Juno Dawson)
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    • Cecil Lewis
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    Clifton James
    Clifton James
    • Pat McGloin
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    John McLiam
    • Jimmy Tomorrow
    Stephen Pearlman
    Stephen Pearlman
    • Chuck Morelo
    Tom Pedi
    Tom Pedi
    • Rocky Pioggi
    George Voskovec
    George Voskovec
    • Piet Wetjoen
    Don McGovern
    • Detective
    Bart Burns
    Bart Burns
    • Detective
    • Dirección
      • John Frankenheimer
    • Guionistas
      • Edward Anhalt
      • Thomas Quinn Curtiss
      • Eugene O'Neill
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios26

    7.21.9K
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    Opiniones destacadas

    7crafo-1

    The Pipedream Cometh

    I have to confess right off the bat that I love O'Neill and this play is certainly one of the grandest of them all, but I am also one of those that would have preferred to see Jason Robards in the Hickey role. I did see Robards play it on kine scope and thought he was about as right as it gets.

    Having said that, Lee Marvin does admirably in this huge role. My expectation were low but I was not disappointed. I even thought he brought a level of menace to the part that might have been missing with another actor.

    It is a grim play. Nothing cute about this bunch of burn outs and hardcore drunks. Not easy to view and experience and very long! (I watched it in 3, count them, 3 sittings! Special praise goes to Robert Ryan, in one of his best roles ever and a very young and vibrant Jeff Bridges who comes through against a long array of seasoned performers.

    I do not think I have ever heard the word "pipedream" more. It occurs again and again and with purpose and sadness.

    Although this work has a half a ton of drunks and losers, it is not for the partying JERSEY SHORE crowd. This is highbrow epic stuff.

    Bravo!!
    danielj_old999

    Fredric March appreciation

    It seems that there have been a few actors psychologically and kinesthetically "born" to interpret the works of a certain great playwright (or director) as Toshiro Mifune/Akira Kurosawa for the cinema. It would seem that March and Jason Robards had this relationship with Eugene O'Neill. I've been told that March's performance in "Long Day's Journey into Night" in NYC in the 1950's was for the ages; this "ICEMAN" is another example. I had always thought that in his high gloss Hollywood films March appeared a bit flat and dull (excepting of course "Dr. Jekyll and Mr. Hyde"). In this film we can see a great actor regalvanized in one of the greatest supporting performances ever committed to film. Beneath the sheer coating of mordant humor which March provides with such finesse, we witness the total, volcanic deterioration and spiritual anguish of a human being. Probably the two greatest career finishes in cinema history were March and Robert Ryan in this movie.
    10deannolan

    Remarks

    Can I tell you that I have waited 30 years to see this movie? When I was in my late teens, I received a brochure in the mail advertising the American Film Theater series. One of the films in the series that made my eyes pop was the promise to show Eugene O'Neill's "The Iceman Cometh". I was a big fan of O'Neill's work, but felt cheated by AFT's disastrous marketing concept of showing it's films to season subscribers only, and then only giving them two days to see the film. I was forced to take a pass, but mourned my loss ever since.

    This play is rarely performed. At four hours, it would task most theater companies, and Hickey's 25 minute soliloquy in the last act requires only the best actors to pull off. I was fortunate to have seen this play, once in my life, performed on the stage. This was Chicago's Goodman Theater production starring Brian Dennehy as Hickey in 1990. I felt fortunate, but came away from that production dissatisfied. Dennehy was a "good" Hickey, but not a great one, and the rest of the cast left me a little shallow.

    How glad I was then to discover that this film had been re-released. By pure chance, I saw a notice in the paper that this film would be showing at the Gene Siskel Film Center in Chicago. I couldn't let this opportunity pass by a second time. I attended the screening and was absolutely stunned. It exceeded my expectations.

    First of all, the cast was stellar. Robert Ryan played his last film role here, and it was perfect. I don't say something like that very often. I cannot imagine a better Larry.

    Fredric March played his last role here too, as Harry Hope. Also an excellent performance.

    The question everyone would be asking about is Hickey, played by Lee Marvin. Was he up to the role? To my surprise, Marvin couldn't have been a better choice.

    Hickey was a salesman, and a rare one at that. He was the type of salesman that could knock on your door and convince you that what he had to sell was what you needed. A salesman like that had to exude a sense of complete self confidence. They would have to be totally sure of themselves and show it. Lee Marvin did that perfectly.

    The tragedy of Hickey was that he was his own best customer. He was a tortured soul until he came across a solution that made him feel that he could live with himself again, thus creating his own pipedream. His mistake was to think he found a solution that would save humanity.

    Unfortunately, in Harry Hope's dive, pipe-dreams and illusions were the only thing the patrons had to live for. Tampering with that created disaster.

    Lee Marvin convinced me that he was Hickey, and in a play like this, that is quite an accomplishment.

    By the way, I discovered that this film is now available on VHF and DVD. I am getting a copy.
    10Quinoa1984

    astonishing performances, absorbing play, direction that keeps things moving

    It was a wise decision on the part of producer Ely Landau- one of the only wise ones, as seems to be the history of the flawed ambition of the American Theater Company's movie adaptation productions- to hire John Frankenheimer as director. He was known at the time in the movie industry for churning out high-charged action and adventure pictures (i.e. The Train, Grand Prix), and the occasional dark classic (The Manchurian Candidate), but he started as a television director, and with a play that ran like The Iceman Cometh there would be needed someone who could track the stinging, meaning-of-life-and-death dialog of O'Neill's play with the camera and not make it feel too 'stagey'. This might be difficult to surmise that he made it fully cinematic in the sense of using more than one set or exteriors, as he didn't. Everything is confined to that set of Harry's bar. But within this precise, necessary limitation, Frankenheimer delivered one of his best projects.

    Then again, how could he not with the source material? It's about some of the richest theater ever produced, least in the 20th century, and is considered by many to be O'Neill's epic masterpiece. It's a tale of a community, a quasi-family of bums and stragglers who're stuck more or less in a dive down in a seedy section of New York city in the early part of the century, awaiting the return of Hickey (Lee Marvin), a big force of a man who works in advertising. This time things are a little different, however, and a new revelation leads the men (and a couple of the women) to wonder if he's flipped his lid. Around this premise of a dark secret or a certain feeling of "death" that Hickey has brought with him, O'Neill creates an ensemble that's unforgettable in its mix of light and dark, principled and sleazy, afraid and just downright kooky. There's a whole mix; there's Larry the ex-anarchist who's slowly dying inside (Robert Ryan); there's the depressed-cum-demanding kid (Jeff Bridges); Harry (March); the bartender/pimp; a black gambler; the "Limey"; the "Tarts"; and a crazy, rambling European screaming about socialism from time to time.

    And despite what some may have said comparing it to the 1960's made-for-TV version directed by Lumet (which I would love to see but is at the moment unavailable), I'd be hard-pressed to see a cast better than this. Just a reminder: Lee Marvin can act, amazingly, and here he puts his chops to such a test that he rolls on to his climactic, half hour quasi-confession like it's the performance of his life. Ditto for Ryan and March, and for them it was more-so (Ryan knew he was dying, adding a poignancy to what was probably his best, most subtle work, and March is captivating as the stubborn old drunk owner). And Bridges, in a role which he said made him want to continue seriously being an actor, is hard to take one's eyes away from, even as his character wavers from being sympathetic to unlikeable in a single scene. And the bulk of the supporting cast are all wonderfully played and transposed, injecting life into a play that requires it to keep it going full throttle.

    It's not an easy thing to endure; it's four hours long, and for the first hour here and there one has to go through some minor early morning drunkenness from the characters, which isn't the least effective portion of the play as well as the film. From there on out, if one is tuned into O'Neill's precisely harrowing story of the bums and drunkards and outcasts and all very flawed human beings, it will work wonders even in its sparsest moments. The ending, I might add, is about as perfectly bittersweet as I've seen this side of Woody Allen's Manhattan. Frankenheimer's work is a nearly forgotten gem.
    6marcslope

    Guy walks into a bar...

    One of the brownest movies ever made -- brown walls, brown furniture, red-brown faces of the drunken patrons of Harry's Bar -- and somehow that feels appropriate, as a lot of it is about autumnal regrets and faded dreams. One in the series of the AFI's American Film Theatre series, it's a very faithful rendering of O'Neill's great play, with one original Broadway cast member (Tom Pedi's bartender) and loads of good casting throughout. John Frankenheimer's camera is thrust right up at the actors' faces, and you keep looking for artifice or melodrama, but, with the exception of Sorrell Booke's sodden Hugo, there's very little. Fredric March's deluded Harry Hope, Robert Ryan's despairing ex- revolutionary Larry, Jeff Bridges' guilt-ridden student (a very difficult role for a young actor, especially in company as august as this) -- all have the ring of truth, and once you get used to the deliberate pacing, repetitive arguments and apologies, and startlingly frank language for a 1946 play, you're hooked. As to Lee Marvin's Theodore Hickey: I was convinced up to his famous Act Three monologue, but he stumbles here, launching into badly calibrated fits of temper and back again. Compare it against Jason Robards Jr.'s interpretation in the 1960 Sidney Lumet-directed TV version, and you'll see the difference between a good actor overreaching and a master in a role he was born to play. (I also saw Kevin Spacey's attempt on the stage a few years ago: He played Hickey like Professor Harold Hill, all bluster and forced charisma, and it didn't work.) A depressing four hours, but worthy, and a rich sample of the actor's art.

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    Argumento

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    • Trivia
      Robert Ryan was in the final stages of lung cancer during filming. He agreed to play the part of Larry Slade, a character who knows he's going to die soon. Ryan died before the film was released.
    • Citas

      Larry Slade: As the history of the world proves, the truth has no bearing on anything. It's irrelevant and immaterial, as the lawyers say.

    • Conexiones
      Edited into Voskovec & Werich - paralelní osudy (2012)

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    • How long is The Iceman Cometh?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 29 de octubre de 1973 (Estados Unidos)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • Buzcu Geliyor
    • Locaciones de filmación
      • 20th Century Fox Studios - 10201 Pico Blvd., Century City, Los Ángeles, California, Estados Unidos(Studio)
    • Productoras
      • Cinévision Ltée
      • The American Film Theatre
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      • 3h 59min(239 min)
    • Color
      • Color
    • Mezcla de sonido
      • Mono
    • Relación de aspecto
      • 1.85 : 1

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