harmony
by Douglas Messerli
Shane Black (screenplay and
direction) Kiss Kiss, Bang Bang /
2005
Roger Ebert’s on-line review of
Shane Black’s Kiss Kiss, Bang Bang
describes the film genre as “Action, Comedy, Crime, Mystery, Thriller,” which
perhaps says it all about this frothy confection whipped up in a blender in
order to be consumed by absolutely anyone and everyone. Ebert goes on to
somewhat begrudgingly complain: “Kiss
Kiss, Bang Bang contains a lot of comedy and invention, but doesn’t much
benefit from its clever style. The characters and plot are so promising that
maybe Black should have backed off and the told the story deadpan, instead of
mugging so shamelessly for laughs. It could still be a comedy, but it would
always be digging its elbow into ribs. I kept wanting to add my own subtitles:
‘I get it! I get!’” And, in large part, I find myself agreeing with him.
Yet, from its credits on, this film is so stylishly directed, wittily
conceived, and well-acted—particularly by the petty, East Coast thief, Harry
Lockhart (Robert Downey, Jr.) and the seasoned gay detective, Gay Perry van
Shrike (Val Kilmer playing “Gay Paris,” get it?)—that it almost seems
mean-spirited to throw a dose of cynicism into this brew, particularly since
Black himself has laced his creation with a camp cynicism just so that nothing,
not even the character’s youthful history played out in a Norman Rockwell-like
Indiana, tastes too sweet. All right, the plot makes absolutely no sense, and
is so convoluted that even an attentive reader like me, armed with a Wikipedia
cheat sheet, can still not make it out. But then a film that models itself on
Raymond Chandler’s Lady in the Lake—which
Time Out Film Guide describes as a
“loopy” piece—predictably, perhaps, argues that the film might intentionally
not make much sense. I’ve seen The Big
Sleep dozens of times, but still don’t completely understand its “story.”
And just like that brilliant film noir
what matters more here is the chemistry between its characters and their clever
dialogue.
It’s also, purportedly, the first time a major film action character was
gay. Kilmer is not great actor, despite his own estimation of himself, but in
his puffy good looks he is near perfect as the hard-core, experienced gumshoe,
Perry, enlisted to give newcomer, would-be actor Harry a taste of the
underworld life. “Rule number 1….This business. Real life, boring.” If nothing
else, Perry knows who and what he is.
Harry, on the other hand, who, after attempting to rob a toy store has
stumbled into an audition, convincingly acting out what has just happened in
“real” life (the auditioners are convinced he is a brilliant method actor), is
a naïve as they come. At his first Hollywood party he attempts to protect a
sleeping woman, Harmony Faith Lane (Michelle Monaghan), challenging the
would-be “intruder” to a fight, only to be severely beaten. Throughout the
film, he is beaten again several times, even by women, is shot, loses a finger,
and is tortured with electricity in his crotch. Convinced he is in love with
Harmony—who, it turns out, in this coincidence-packed movie, is his high school
sweetheart (albeit the only male in his class with whom she did not have
sex)—yet even as an adult who momentarily shares her bed, he does not “score,”
although, what Harmony says of another girl might equally apply to herself,
“She’s been fucked more times than she’s had a hot meal.”
Despite his seemingly heterosexual proclivities, Harry gets nowhere with
the women (is even voted out of a bar by the women within), as he keeps coming
back and back to Gay Perry, despite Perry’s dismissal of him. And the only real
kiss he gets—in this “kiss kiss” tale—is when Perry, in order to evade the
police, embraces him for a long mouth to mouth munch. After he crawls into
Harmony’s bed, the scene ends with him arguing with her concerning her
admission that she had slept with his best high school friend—the only male,
other than himself, that he thought she had not had sex! Was that friend so
special, one has to ask.
If Harmony and her dead sister, Jenna, along with the body of Veronica
Dexter, keep showing up in his life, it is because they are needy or dead, not
in love with Harry. As he himself hints, the women with whom he communes are
either perverted or deceased: “I mean, it’s literally like someone took America
by the East Coast and ‘shook’ it, and all the normal girls managed to hang on.”
Certainly, his relationships with women are not ever “harmonious.”
In the end, it is only Perry who is truly honest with him, explaining
not only the ways of the world but revealing the painful truth that Harry has
been lured to Hollywood as a ploy to get another actor to play the part for
cheap. And it is Perry who perhaps perceives how things stand:
Perry: Merry
Christmas, sorry I fucked you over.
Harry: No
problem. Don’t quit your gay job.
And later:
Harry: Hey,
hey, hey! It’s Christmas, where’s my present,
Slick?
Perry: Your
fucking present is you’re not in jail, fag-hag.
It should come as no surprise, accordingly, that Harry admits, at film’s closing, that he now works for Perry, with Perry, to close down the film, putting his hand over Harry’s mouth as if to shut down any possible new confessions. Perry, always the realist, even apologizes “to all you good people in the Midwest, sorry we said fuck so much.” But then that is truly what this film is all about, and it is nearly impossible to imagine Harry going on without his rhyming-named friend. Harmony has finally been achieved.*
*I might also mention that this film
fits perfectly into the genre I have described as “Los Angeles” films, movies
that take place in the city, to which outsiders are attracted, feeling
themselves, a first, as alien before they come to recognize that, as outsiders,
they completely belong.
Los
Angeles, July 9, 2013
Reprinted from World Cinema
Review (July 2013).
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