Dead Man’s Wire not only takes place in the 1970’s but feels like it was shot then too; thanks to Gus Van Sant

Dead Man’s Wire is a true crime flick that not only takes place in the 1970’s but feels like it was shot then too; all thanks to the direction of Gus Van Sant. With subtle nods to Dog Day Afternoon and other hostage films of that era, Dead Man’s Wire allows tension and conversation to rivet the audience to the story.

Synopsis: On February 8, 1977, Tony Kiritsis entered the office of Richard Hall, president of the Meridian Mortgage Company, and took him hostage with a sawed-off shotgun wired with a “dead man’s wire” from the trigger to Tony’s own neck. | 1h 45m | Rated R for language throughout

Violence is never the answer, but it is also easy to side with the working man cheated by big business. Watching this film viewers will feel for both parties. One man is frustrated with a system that seems to get rich off the backs of hard working individuals. Many of us have had these very thoughts. Not that we would go to this extreme to get our anger heard, but we sure understand the motivation. The other man is just the face of the wealthy. Someone with a title and perceived golden ticket has to pay and who better than the one seeing to call the shots; whether they have any power or not.

The entire film takes place over an intense few days as Tony Kiritsis (Bill Skarsgård) holds Dick Hall (Dacre Montgomery) captive in Tony’s apartment. Tony spends his time ranting about how he was cheated out of money by Meridian Mortgage, and speaking to the local audience via a popular radio show hosted by the voice of the people, Fred Temple (Colman Domingo). Van Sant captures not only the volatile situation but also the vibe and mood of the 1970’s. The world was smaller then and news was often sequestered to the local area. The importance and popularity of local TV and radio is not only shown here but brings up feelings of nostalgia for those who lived it.

Bill Skarsgård is fantastic in this role. If you thought he was unhinged as a demonic clown – PennyWise – he is more off balance as an actual human being. Tony is so focused on getting his day in the media court of opinion. He thinks of himself as a national hero. A voice of the little guy. He honestly believes that when it is all said and done that they will not only meet all his demands but probably throw him a parade to celebrate. It is this out of touch mentality that seems to drive Bill’s performance. He is constantly moving and talking. I am not sure what would be worse for Richard Hall; having a gun to his head or having to hear Tony ramble on non stop.

Another interesting trait of Tony’s is that he seems to know everyone, and is actually quite personable and friendly. He is on first name basis with many of the local law enforcement, which adds to his belief that they are all on his side. Combine that with his now growing radio audience, fueled by the smooth tones Fred Temple, and he has elevated himself into the annuls of legend. Spoiler alert, it doesn’t quite play out that way.

The 1970’s could be the most stylish decade ever. The clothes, the music, the mindset of the people; it is all so iconic. Writer Austin Kolodney and Director Gus Van Sant make tasty use of these elements as they style their characters, and immerse the audience into the sounds of the era. If ever a soundtrack needed a vinyl release it is this one. Classic tunes and a score by Danny Elfman are just more layers to Arnaud Potier’s Cinematography.

DEAD MAN’S WIRE is in theaters.

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Matt Mungle

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