The Killers

Ole Andreson is a primary character in “The Killers,” as the narrative revolves around him. True to Hemingway’s style, the story doesn’t immediately reveal much about Ole’s background—instead, readers gradually piece together his history throughout the narrative. We understand Ole is a former prizefighter, or “was in the ring” (52), as Mrs. Bell puts it, and that the Chicago mob has sent two hitmen, Max and Al, to kill him. Max says he and Al have never met Ole and are “killing him for a friend” (47), and George deduces that Ole “must have got mixed up in something in Chicago” (52).

Ole’s characterization subverts readers’ expectations. He is described as a large, gentle man—Mrs. Bell notes that “you’d never know [he was a prizefighter] except for the way his face is” (52), referring to his scar. If the stereotypical prizefighter is a man of action, determined and decisive, Ole is a man of inaction, resigned to his fate. He lies in bed, unable to muster the will to get up. In contrast to Nick’s innocence, Ole is a figure of experience who understands that fighting will lead nowhere. After years of combat, he is “through with all that running around” (51).

Ole serves as the catalyst for Nick’s epiphany: his passive acceptance of his impending death ultimately leads to Nick’s profound disillusionment and Loss of Innocence. In the context of the overarching theme of Passivity Versus Activity, Ole Andreson embodies the concept of passivity.

The two killers Max and Al are the antagonists of the story, and they embody the stereotypical gangster archetype. Their visual appearance and choice of attire conspicuously signal their identity: They are dressed “like twins,” with derby hats and black overcoats “buttoned across the chest,” silk mufflers, and gloves (44). Their manner of speech also complements their gangster personas. They taunt George and Nick, referring to them as “bright boys” (45), and they complain about the available food options and the town’s livelihood. Their dialogue is peppered with coarse language, with phrases such as “none of your damned business” (45), and they inquire about alcohol during Prohibition, casually asking, “I mean, you got anything to drink?” (44).

While initially their purpose remains unclear, it soon becomes evident that the two are on a mission to kill Ole Andreson “just to oblige a friend” (47). They are depicted as cold-blooded professionals, motivated by a sense of professional duty rather than personal vendettas. However, the two also have a humorous side. Hemingway describes them as looking like “a vaudeville team” in their tight overcoats and derby hats (49), alluding to the vaudeville genre, which was a popular form of variety entertainment in North America during that era. Their dialogue, too, has a theatrical quality, characterized by rapid exchanges and jokes at the expense of George, Nick, and Sam. Mixed in with the jokes at the expense of George and Nick, they also use a racist slur for Sam. Their domineering and offensive tones, disguised sometimes as jokes, amidst the situation at large contribute to a tense atmosphere in the lunchroom.

Max and Al represent organized crime in the 1920s, the violent underground forces in the disorderly post-war world. Hemingway, drawing from his experiences as a reporter, portrays these forces as dangerous yet simultaneously absurd. The line between jesters and cruel assassins is intriguingly blurred.

George and Sam are two secondary characters who add depth and complexity to the unfolding narrative of “The Killers.” The two represent different facets of ordinary people faced with extraordinary circumstances.

George, who manages Henry’s lunchroom, demonstrates a passive resistance toward Max and Al. Despite the verbal abuse he endures, with the killers taunting and calling him “dumb” (44), George remains remarkably composed. He does offer timid protests, such as questioning “what’s the idea?” (45), but eventually complies with their orders. Once the killers are gone, he wants to warn Ole, but instructs Nick to do so instead of going himself. When Nick returns visibly shaken, George advises him to “not think about it” (53).

On the other hand, Sam, the cook in the lunchroom, takes a clear stance of non-involvement, distancing himself from the unfolding violence and danger. He delivers a resolute statement that “mixing up in this ain’t going to get you anywhere” (50). Sam’s character exemplifies the overarching theme of Passivity Versus Activity, as he firmly stands on the side of non-involvement. The men notably refer to Sam using a racist slur, as does George, but Nick simply refers to him as “the cook,” separating himself from the harsh and insulting language that surrounds him in the lunchroom.

While neither George nor Sam play a central role in the story’s action, they provide important context and contribute to the atmosphere of fear and tension created by the killers’ presence. Ultimately, both George and Sam exemplify the theme of passivity within the narrative. Their choices serve as a contrast to Nick Adams’ decision to take action, confront the danger, and try to save Ole, highlighting the various responses individuals may have when confronted with violence and potential harm.