This review contains spoilers.
True crime adaptations often rely on extreme drama to hook their audiences in from the beginning. Intense car chases, graphic murder scenes and dramatic killer reveals have all become synonymous with a thrilling true crime film.
“Dead Man’s Wire” takes a different approach. Supported by its brilliant plot and standout performances, the film presents the facts of Tony Kiritsis’ kidnapping of Richard Hall through a more sobering, less dramatic lens than is typical of true crime narratives.
Directed by Gus Van Sant, “Dead Man’s Wire” recounts the story of Tony Kiritsis (Bill Skarsgård), a man who holds his mortgage broker’s son, Richard Hall (Dacre Montgomery), captive in his Indianapolis apartment after the two made a deal he found unfavorable. The film gets its name from the elaborate mechanism Kiritsis crafts to put himself and Hall in an all-or-nothing position.
Kiritsis informs Hall that if anything happens to him, the shotgun he has pointed at his head will also go off, leaving them both dead.
Hall’s kidnapping occurs within the first 20 minutes of the film, creating a tense undercurrent from that point forward. Kiritsis walks Hall through the streets of downtown Indianapolis, a task permitted by the dead man’s wire, threads explosives throughout his apartment complex and has many standoffs with the police. Watching the products of Kiritsis’ mental planning manifest on screen is both terrifying and fascinating.
The film simultaneously combines intriguing subplots, such as Kirtisis’ infatuation with radio host Fred Temple (Colman Domingo) and the perspective of the hostage situation through the eyes of journalist Linda Page (Myha’la). These subplots intertwine with the main storyline of Kiritsis and Hall, which fit in perfectly. The plot was packed to the brim with action, and there was never a dull moment.
In addition to a strong plot, performances from the ensemble cast were nothing short of perfect. Skarsgård is the standout as Kiritsis. Skarsgård is often lauded for his ability to fully embody his roles, and this one is no exception. His depiction of Kirtisis evokes both sympathy and fear.
Kiritsis is a representation of the underdog, one who has been taken advantage of by those in power. All Kiritsis desires is an apology, and he feels that the only way to receive one is through dramatic and violent action.
His situation is relatable to many, but the limits that he is willing to go to for revenge are where his underdog mask begins to slip. Skarsgård conveys the underdog narrative brilliantly and makes the audience root for Kiritisis even when they probably shouldn’t.
Another extraordinary performance is Montgomery as Hall. Montgomery spends the majority of the film with a shotgun pointed at the back of his head, forcing him to rely on his physicality to convey what that experience is like to the audience.
He does so effortlessly with every tremble when he speaks and each brief jerk and motion to indicate his lack of freedom and bring the audience’s attention back to the wire tightly wrapped around his neck. It is equally exciting to try to predict Montgomery’s next move as it is to hear his upcoming line.
As a whole, the cast plays off of each other very well.
In particular, the relationship between the police officers and Kirtisis’ brother, Jimmy (Daniel R. Hill), added an additional layer of empathy to the film. Jimmy finds himself torn between helping the police and helping his brother.
While he eventually makes a decision, watching how the police interact with him during this deliberative period was powerful and heart-wrenching. The dynamic between Kiritsis and Hall is also extremely captivating to watch.
In one scene, the two share a heartfelt conversation about their childhoods. Kiritsis admits to once harboring jealousy against Hall for his lavish lifestyle, which leads Hall to admit that his childhood was not all it was made out to be.
Hall admits that his assumed silver spoon life was characterized by a difficult relationship with his father. This conversation marks a shift in their dynamic. Kiritsis still holds all the power, but it seems that his resentment towards Hall is dissipating. Similarly, Hall begins to understand where Kiritsis’ frustration stems from and gains a morsel of sympathy for him.
“Dead Man’s Wire” delivers the hardcore facts of the case with little embellishment. It is a refreshing addition to the true crime genre, and a film that introduces audiences to a lesser-known but enthralling story. With the stellar performances and plot, it is a must-see.
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