SPOILER ALERT: This article contains plot details from “Monster: The Ed Gein Story,” currently available for streaming on Netflix.
Vicky Krieps’ portrayal in “Monster: The Ed Gein Story” stems from the series’ often surreal narrative. In the opening episode of the season, Ed (Charlie Hunnam) receives a comic book from his love interest, Adeline (Suzanna Son), which highlights the notorious acts of “The Bitch of Buchenwald,” Ilse Koch. Koch, a historical Nazi war criminal played by Krieps, is infamous for her horrific acts, including skinning Jews to create grotesque objects like lampshades. Despite the dark nature of the role, Krieps had reservations until co-showrunner Ryan Murphy elucidated the intertwining tales of the two killers. In a conversation with Variety, Krieps shared her journey to embracing this controversial character and her personal ties to the Holocaust.
What kind of research did you conduct on Ilse before taking on the role?
Accepting the role was a journey in itself for me. Initially, I felt unprepared, largely because my grandfather was in a concentration camp. This historical background is deeply personal for my family, making me apprehensive about how such sensitive material would be portrayed on screen. I feared for myself as I would revisit these painful themes. The research, however, was not challenging, as I’ve immersed myself in Holocaust literature since I was eight. Understanding that Koch was depicted as a comic character, filtered through Ed Gein’s fantasy, helped ease my concerns. This allowed me to approach the role as a larger-than-life figure rather than a straightforward villain. She struck me as a peculiar mix of a glamorous Hollywood star and a 1950s housewife striving for perfection, oblivious to the fact that her ambitions trampled over countless lives.
My research focused more on embracing the role of an actress presenting a fantasy rather than a historical narrative. Knowing the ominous conclusion of her story made me realize we had a meaningful tale to tell. We never really saw figures like Hitler comprehend the enormity of their actions. Koch, lacking genuine remorse, descends into madness as she confronts her horrific deeds. This narrative arc was crucial, allowing viewers to witness the downfall of someone so entrenched in evil. Once I grasped that, I decided to move forward with it.
When embodying such evil, is it necessary to seek out a glimpse of humanity to hold onto?
Understanding that her obsession with perfection mirrors some people today was key to my approach. She yearns for the ideal life, a flawless home, and the perfect spouse, and this relentless quest leads her down a morbid path. This provided insight into her character, highlighting her twisted perfectionism. It reminded me of Hannah Arendt’s insightful writings on the banality of evil, which is often entwined with everyday life—found in kitchens and homes.
I was keenly aware of Ryan’s vision, which centers on the question of who or what constitutes a monster. The reality is that the monster often resides within us; we tend to point fingers at outsiders while overlooking our capacity for harm. Acknowledging that we are all capable of monstrosity is essential for our societal progress. I aimed to imbue Koch with enough humanity that viewers would grapple with their empathy towards her. Why does she evoke sympathy despite her nefarious actions? This question fascinated me, especially rooted in my family’s history, making the portrayal both thrilling and liberating.
Your character is intricately linked to Ed Gein’s narrative. Was it challenging to visualize how both stories intertwined initially?
Trusting Ryan was crucial, and this contributed to my delay in accepting the role—three emails later, I finally gave my consent. Upon reading the script, I was perplexed; it felt surreal and sporadic. When I found myself sitting on a donkey in my underwear, I thought, “How is this going to be taken seriously?” This hesitance only grew with the introduction of the ham radio, an element they incorporated during filming that added confusion, as it strayed from coherence.
Ryan, [co-showrunner] Ian [Brennan], and [director] Max [Winkler] aimed to create something artistically ambitious. Creating art requires a certain surrender to intuition, and that’s what we did; we embraced the chaos, which ultimately coalesces beautifully.
How familiar were you with Ryan Murphy’s previous projects before joining “Monster”?
I hadn’t engaged much with television due to caring for my two young children, which left me little time to watch. While I had seen “Hollywood,” I wasn’t aware of its connection to Ryan. During our Zoom meeting, I appreciated his intelligence and drive to tell meaningful stories, making me eager to contribute to his vision. Afterward, I explored his work and was blown away—especially by “Feud.” I was captivated and thoroughly enjoyed diving into those worlds, which motivated me to say yes to this project as I trusted he would treat this dark part of history with the respect it deserved. Now, I proudly count myself as a fan.
What can fans look forward to in the upcoming Lizzie Borden season of “Monster”?
They should prepare for another immersive experience into a world where they’ll want to linger with the characters. This season will distinctly highlight the feminine perspective, an aspect that has yet to be fully explored in Ryan Murphy’s oeuvre. We’re excited to play in this realm, and I hope viewers will find joy in watching it.
This interview has been edited and condensed.
