“A filmed play like this doesn't offer the sensual enjoyment that movies can offer, but you don't go to it for that; you go for O'Neill's crude, prosaic virtuosity, which is also pure American poetry, and for the kind of cast that rarely gathers for a stage production. […] Larry, a self-hating alcoholic, is a weak man and a windbag, but Ryan brings so much understanding to Larry's weakness that the play achieves new dimensions. Ryan becomes O'Neill for us; he has O'Neill's famous "tragic handsomeness" and at the end, when Larry is permanently "iced" — that is, stripped of illusion — we can see that this is the author's fantasy of himself […] Fredric March interprets Harry Hope with so much quiet tenderness that when Harry regains his illusions and we see March's muscles tone up, we don't know whether to smile for the character or the actor.”

— Pauline Kael

"The Iceman Cometh," pp. 353-354
5001 Nights at the Movies (1982)

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Pauline Kael 72

American film critic 1919–2001

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