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I liked Downey's pose that he was writing the movie as he was living it, and Kilmer's gay detective, who functions as a parody of gay parodies. Put a little of everything on your plate and you'll be stuffed by the end, but what did you eat? Like a smorgasbord, it makes no attempt at coherence. The dialogue, and just about everything else in the movie, is there for its own sake. When the characters speak, it is an example of their verbal style, which is half film noir and half smart-ass. It exists entirely in order to be dialogue. The dialogue exists not to explain anything or advance the story. I've seen the movie twice, foolishly thinking I might understand it better the second time. The movie might reward deep textual study consider that in the chapter named after Chandler's The Lady in the Lake, a gun is thrown into the lake, giving us the girl and the gun formula in a form so subtle that right now you are wondering why I don't simply cave in and tell you if the movie is any good or not.
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This is in the process of investigating a series of murders, which he does primarily to impress Harmony Faith Lane.
Then ensue events so complex that Harry loses a finger not once but twice, which is bad, because fingers have fingerprints, although the danger of being fingerprinted is greatly reduced by the manner of his losing the finger for the second time. Maybe it's inevitable she turns up here Harry's narration observes of the women in Los Angeles: "It's like someone took America by the East Coast and shook it, and all the normal girls managed to hang on."
The film begins with Harry's stage debut as a child magician who saws a girl in half as she screams, "I'm going to be an actress!" Flash forward to years later in Los Angeles, where he meets Gay Perry (get it?), who agrees to tutor him in private-eyeing and sends him to a Hollywood party where he meets that very same girl, Harmony Faith Lane ( Michelle Monaghan). I kept wanting to add my own subtitles: "I get it! I get it!" It could still be a comedy, but it wouldn't always be digging its elbow into our ribs. The characters and plot are so promising that maybe Black should have backed off and told the story deadpan, instead of mugging so shamelessly for laughs. "Kiss Kiss, Bang Bang" contains a lot of comedy and invention, but doesn't much benefit from its clever style. But do the titles come from Harry Lockhart, or do they exist outside his mind and suggest that Shane Black's screenplay has another level of comment on top? That would be roughly like the subtitles in "Domino," which have a different point of view than the narration.īut now the review is spinning its wheels. "Kiss Kiss, Bang Bang" is made for a fairly specific audience it helps if you are familiar with the private eye genre in general and the works of Raymond Chandler in particular (the movie has five chapter headings, all taken from Chandler's titles). We could play a version of the Kevin Bacon game with this movie, because Downey also starred in the movie version of " The Singing Detective" (2003), also about a detective who narrates his own story. The movie is narrated by Harry Lockhart ( Robert Downey Jr.), a would-be actor from New York who moves to Los Angeles and finds himself taking private eye lessons from Gay Perry ( Val Kilmer), a gay detective. Does that matter? Two answers: (1) No, when what is happening on the screen works as itself, without regard for the plot, and (2) Yes, when we can see that the movie is plainly spinning its wheels. "Kiss Kiss, Bang Bang" is slowed down and straightened out just enough to that we can see it makes no sense.
"Domino" makes next to no sense, but is shot in a style that makes sense irrelevant. Both of these movies may be action retreads of Charlie Kaufman's screenplay for " Adaptation," in which the process of writing the screenplay becomes part of the story.
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