风云际会

Another erstwhile Hollywood leading man kicks up the bucket, R.I.P. Val Kilmer (1959-2025), and these three movies is a kind of triptych. A look at a career, a presence, that's always been about something more than just filling the screen. There's a daredevil quality in Kilmer, but also this aching vulnerability, even when he's got the smirk plastered on. When you watch Kilmer on the screen, he seems to be a live wire and you get the feeling there's always a challenge being thrown, not just to the audience, but to himself. WILLOW, conceived from the brainwaves from George Lucas, is a fantasy frolic and Howard, ever the craftsman, knows how to marshal and mobilize a story. He directs with a steady hand, keeps the plot chugging along, makes sure all the pieces fit. It's not flashy, it's not groundbreaking, but it's competent. He creates a world that feels lived-in, despite of all the fantastical elements. The pacing is brisk, the action sequences are clear and engaging, and he manages to balance the light-hearted moments with the darker, more menacing ones. However, at times, his signature earnestness can veer into sentimentality, a certain softness that occasionally undermines the grittier aspects of the narrative. You can see Lucas's guiding hand in the story's broad strokes, the familiar hero's journey, but Howard brings his own visual polish and his knack for eliciting strong performances. Davis is the heart of this film, no doubt. As Willow Ufgood, he embodies a wide-eyed innocence, and a stoutheartedness in the face of overwhelming odds, that we can all root for. He carries the film with a surprising gravitas, especially considering his diminutive stature (to alleviate the "size" matter, two "brownies", even smaller, are promoted as the comic reliefs). You really feel for this simpleton, this unlikely hero who's thrust into a world of danger and magic. He sells you on Willow's courage, his determination and his nascent sorcery. Queen Bavmorda, played by Marsh (who also passed away this April, 12 days after Kilmer, at the age of 90), is deliciously evil. Marsh chews the scenery with relish, abandoning herself to every hiss and each menacing glare. She's a classic villain, the kind you love to hate, and she provides a formidable menace and you never doubt for a moment that she's a force to be reckoned with. As Sorsha, Bavmorda's warrior daughter, Whalley brings a fierce intensity to the role, a warrior princess torn between her duty and her growing conscience (or a case of erotomania, more accurately). She's not a damsel in distress but a fighter, only her own arc does a disservice to her when she is implausibly swept off her foot by a member of the opposite sex under a romantic spell. The film's special effects are of their time. They are all earnest and slightly clunky in that dated '80s fantasticated sheen. But Kilmer's Madmartigan, the classic archetype of the charming rogue, is all swagger and bruised ego. A skilled swordsman, a bit of a scoundrel, and initially motivated by self-interest, he's introduced as a prisoner, and his first concern is his own freedom. When the action starts, Madmartigan shines. He asserts himself as a formidable warrior, skilled in combat, and always ready to fight for what he believes in (even if he doesn't always admit what he believes in). Madmartigan's presence challenges Willow and pushes him outside his comfort zone. He acts as a mentor and protector, helping Willow to develop the courage and skills he needs to fulfill his quest. He's the main reason you don't grossly dismiss WILLOW as a sugary concoction fashioned out of the usual Hollywood feel-good mill.

In Stone's THE DOORS, and suddenly we're down the rabbit hole with Kilmer's Jim Morrison. It's one of those transformations that makes you blink, that makes you wonder about the actor's sanity, in the best possible way. Stone's direction is a whirlwind of sensation, a heady mix of sex, drugs, and rock and roll excess. He employs a rapid-fire editing style, jarring camera angles, and psychedelic imagery to create a cinematic experience that mirrors the band's music itself. It's a film that's not afraid to be confrontational, to delve into the darker aspects of Morrison's persona and the counterculture he embodied. Stone's approach is often described as "operatic," and that's veritably true here. He stages the concert scenes with a feverish intensity, capturing the raw energy and chaos of Morrison's central stage presence. The Doors' music isn't just a backdrop; it's a driving force, propelling the narrative forward and shaping the emotional landscape of the film. Stone's direction is also notable for its meticulous niceties to detail. He recreates the look and feel of the 1960s and early 1970s with blunt accuracy, from the costumes and set design to the gritty realism of the street scenes. But beyond the spectacle, Stone is also interested in exploring the mythology surrounding Jim Morrison. He presents Morrison as a complex and contradictory figure: a poet, a shaman, a self-destructive rock star. The film grapples with the tension between Morrison's artistic aspirations and his personal demons, never shying away from the more disturbing aspects of his behavior. Kilmer impersonates and mimicks Morrison to a T. He's got Morrison's self-destructive hunger, his artistic arrogance that's both thrilling and repulsive. He nails the brooding intensity, the poetic soul, and the reckless abandon. You can't take your eyes off him. During those concert scenes, Kilmer's right there in the eye of the storm. He's not just lip-syncing, he's residing in and breathing with the role, channeling Morrison's spirit with a ferocious commitment. He's a black hole of charisma, sucking you into Morrison's vortex and the whole process is a sensational sensory assault. Among the distaff roles, Quinlan's portrayal of Patricia Kennealy, the writer who had a significant interest in paganism and witchcraft, is notable for her commitment to the character's beliefs, practices and sexual yearnings; whereas Ryan as Pamela Courson, Morrison's volatile and often troubled girlfriend, is not the trite ride-or-die chick. She captured Courson's passionate and destructive nature with just enough intensity to keep her shimmering alongside Kilmer's bravura. THE DOORS holds a significant place in the history of the biopic genre. It helps to pave the way for later films like Brian Gibson's WHAT'S LOVE GOT TO DO WITH IT (1993), Taylor Hackford's RAY (2004), James Mangold's WALK THE LINE (2005), and BOHEMIAN RHAPSODY (2018), to just name a few. Stone's film set a new standard for intensity and spectacle, demonstrating that a music biopic could be more than just a straightforward retelling of a musician's history. It could be a visceral, immersive experience that captured the spirit of an era and the essence of a vastly contradictory figure. The film's impact on popular culture is undeniable and Kilmer's tour de force has belatedly became iconic (the film's original release was met with a muted reaction), often cited as one of the greatest transformations in cinematic history. It pushed the boundaries of the biopic genre, demonstrating the potential for the form to be both entertaining and artistically ambitious.

VAL is the full treatment of presenting Kilmer the man himself. Pieced together from his own home videos and his candid interviews in front of the camera, this documentary is a life unfolding, a career in fits and starts, triumphs and tragedies. There's a poignant intimacy to it, a vulnerability that's both disarming and inspiring. You see the young Kilmer, full of promise, a Juilliard hotshot with that smoldering intensity. You see the early roles, the rise to fame (it is delightful to know he and Whalley tied the knot in real life), the Brat Pack era. But you also see the struggles (a family loss taking a heavy toll on him), the artistic conflicts (the least memorable Batman is a kick in the teeth), the toll that Hollywood takes on a sensitive soul. And then there's the throat cancer, the loss of his voice, a cruel twist of fate for a man who is endowed with a tremendous voice. VAL is a reminder that behind the movie star persona, there's a human being, with all the flaws and contradictions that come with it. It's a film about mortality, about the passage of time, about the fragility of life. And Kilmer, in his own way, is incredibly brave, laying himself bare, scars and all. Three films, three different angles on Kilmer. In WILLOW, Howard channels him into this love-fool rogue, all swagger and heroism. It's a crowd-pleasing entrance. Stone, in THE DOORS, unleashes the beast, the Dionysian rock god of Beat Generation. It's a full-throttle, immersive experience, and Kilmer throws himself into the role with a reckless abandon that's both thrilling and terrifying. And in VAL, we get something else entirely: the man behind the myth, profoundly human, normal, relatable. What's clear, watching these films, is that Kilmer is always giving you something. He's more than a square jaw and a pretty face. He's got this raw energy, this willingness to go all the way. And in a world of bland, cookie-cutter movie stars, that's a rare and precious thing. referential entries: Ron Howard's COCOON (1985, 6.2/10); Terry Gilliam's JABBER WOCKY (1977, 7.1/10); James Mangold's A COMPLETE UNKNOWN (2024, 7.7/10); Laurent Bouzereau's FAYE (2024, 6.5/10).

Title: WillowYear: 1988Genre: Adventure, Fantasy, ActionCountry: USALanguage: EnglishDirector: Ron HowardScreenwriter: Bob Dolmanbased on the story by George LucasComposer: James HornerCinematographer: Adrian BiddleEditors: Daniel P. Hanley, Mike Hill, Richard HiscottCast:Warwick DavisVal KilmerJoanne WhalleyJean MarshPatricia HayesKevin PollakRick OvertonPat RoachGavan O'HerlihyMark NorthoverBilly BartyDavid SteinbergTony CoxRating: 6.8/10Title: The DoorsYear: 1991Genre: Biography, Music, DramaCountry: USA, FranceLanguage: EnglishDirector: Oliver StoneScreenwriters: Randall Jahnson, Oliver StoneCinematographer: Robert RichardsonEditors: David Bremmer, Joe HutshingCast:Val KilmerMeg RyanKyle MacLachlanKathleen QuinlanFrank WhaleyKevin DillonMichael WincottFloyd WestermanMichael MadsenCrispin GloverChristina FultonPaul WilliamsCostas MandylorJosh EvansDennis BurkleyBilly IdolKelly HuJosie BissettWes StudiTitus WelliverRating: 7.6/10

Title: ValYear: 2021Genre: Documentary, BiographyCountry: USALanguage: EnglishDirectors/Editors: Ting Poo, Leo ScottComposer: Garth StevensonCinematographer: Val KilmerCast:Val KilmerJack KilmerMercedes KilmerJoanne WhalleyRating: 6.9/10