ICEMAN (2018)
Directed by: Felix Randau
Produced by: Jan Kruger
Screenplay: Felix Randau
Editors: Vessela Martschewski
Cinematographer: Jakub Bejnaworicz
“Man Found, Story Lost”
Iceman, a new film by Felix Randau, unfolds in the Ötztal Alps, more than 5300 years ago. A Neolithic clan has settled nearby a creek. Their leader Kelab (played by Jurgen Vogel) has the responsibility to be the keeper of the group’s holy shrine, Tineka. One day as Kelab is out hunting, the settlement is attacked, and the members of the tribe are brutally murdered, amongst them Kelab’s wife and son; only one newborn survives, and Tineka is in ruins. Overcome by pain and anger, Kelab is driven by his thirst for revenge. The remainder of Iceman focuses on the pursuit of the murderers (as well as Kelab’s own personal odyssey). He must fight not only for the remaining infant’s survival but also the unforgiving forces of nature. He will also change from the hunter to the hunted. When Kaleb finally faces the murderers of his clan, his greatest challenge will be not to become a victimizer himself.
Directed by: Felix Randau
Produced by: Jan Kruger
Screenplay: Felix Randau
Editors: Vessela Martschewski
Cinematographer: Jakub Bejnaworicz
“Man Found, Story Lost”
Iceman, a new film by Felix Randau, unfolds in the Ötztal Alps, more than 5300 years ago. A Neolithic clan has settled nearby a creek. Their leader Kelab (played by Jurgen Vogel) has the responsibility to be the keeper of the group’s holy shrine, Tineka. One day as Kelab is out hunting, the settlement is attacked, and the members of the tribe are brutally murdered, amongst them Kelab’s wife and son; only one newborn survives, and Tineka is in ruins. Overcome by pain and anger, Kelab is driven by his thirst for revenge. The remainder of Iceman focuses on the pursuit of the murderers (as well as Kelab’s own personal odyssey). He must fight not only for the remaining infant’s survival but also the unforgiving forces of nature. He will also change from the hunter to the hunted. When Kaleb finally faces the murderers of his clan, his greatest challenge will be not to become a victimizer himself.
On its surface Iceman reminds me of several previous films, most notably Conan the Barbarian (prehistoric revenge story) and Rob Roy (man pursues vengeance for the rape of his wife). Mostly I am reminded of the recent man vs. nature drama The Revenant. It has the same wilderness grandeur of that film, though it’s far more predictable. And therein lies the main problem with Iceman; we’ve seen all this before. The “rape and revenge” theme is far too familiar. And though the scenery is beautifully stark and at times breathtaking (cinematographer Jakub Bejnaworicz has certainly captured the sparse terrain handsomely), at times it feels as though the visuals are all that amount to anything.
That being said, the central performance of Jurgen Vogel is strong; with little dialogue he communicates everything through his eyes. The idea to use the Rhaetic language is a smart choice by director Randau; it adds to the overall authenticity of time and place. Vogel must carry the film on his shoulders and, for the most part, he succeeds.
What I admired most about Iceman was the way it captured normal, everyday sound. There are long stretches of quiet in the film, and whether it be the sound of birds, gentle rain or rolling river the audible soundtrack is top-notch. Much credit is to be given to the large ensemble of the sound department.
Iceman is a well-made visceral revenge film. The technical qualities are first-rate. I only hoped the movie would stray from its all-too-familiar territory. As a fictionalized account of the man whose body was discovered in 1991 beneath a melting ice glacier it’s a noble attempt. I wish it had taken a few more chances with the material; I’d have been more receptive to the thaw.
From the Back Row, Left of Center…
Darren McCullah
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