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Val Kilmer creates his own paradoxes. He was an intense and promising young actor who wanted to play Hamlet and adored Marlon Brando (what young male actor doesn’t?), But his first movie roles are in the goofball comedies, “Top Secret” and “Real Genius” . He is a perfectionist but often frustrated by the directors on the set, and therefore often described as “difficult”. (If an alleged Kilmer rumor is to be believed, he was hated so much while filming “The Saint” that some members of the Russian crew approached director Phillip Noyce with an offer to hire a hitman. Apparently Noyce considered it before politely declining, explaining that he might need Kilmer for covers – which turned out to be the case).
With the Amazonian documentary “Val”, Kilmer recognizes another paradox. In the middle of this film, he thinks about “selling his old self and his career”, which is often a weak point for many performers. But, he concedes, doing this now, at this point in his career, is a more rewarding experience than a humbling one.
“Val” takes a bittersweet walk through the past as directors Ting Poo and Leo Scott agilely retrace Kilmer’s life and career, from its inception to the present day, in 108 minutes. Kilmer talks about his successes and missed opportunities, triumphs and tribulations offscreen, and makes poignant observations about the decision points he has faced in what he calls his “magical life.” The film joins the growing list of documentaries made by and about actors that have documented their lives and careers as they unfolded. (See Soleil Moon-Frye’s “Love, Antosha” and “Kid 90” for recent examples). But while there’s a lot to appreciate in the assessment of Kilmer’s life and career here, the film feels more like clips put together from a lengthy DVD commentary.
“Val” opens with collage images, and the filmmakers assemble their own collage with this film. They have Jack Kilmer, Val’s son, who actually read the narration because Val’s voice was compromised following a bout with throat cancer. (Kilmer speaks using voice mail). They wove together not only Kilmer’s copious video footage, but his audition tapes (for roles in Kubrick and Scorsese films he never had), behind-the-scenes moments (Sean Penn and Kevin Bacon Moon Kilmer), personal films (of his family, including his late brother and their early film endeavors), as well as interviews. Scenes shot today show Kilmer revisiting his old haunts, Julliard and London, or attending a screening of “Tombstone” in Texas. Viewers will be nostalgic as Kilmer is seen at the premiere of “Top Gun” with his date Cher, or sympathizes with him as he falls ill during a signing at Comic-Con.
Kilmer wants this documentary to tell a story about truth and illusion, and while it is often blunt, its bias colors reality. Concrete examples: Hired for the lead role in the off-Broadway play “Slab Boys”, Kilmer is demoted twice (!) When Bacon and then Penn are chosen. He fulfills a contract to play Iceman in “Top Gun” and complains about the thin script, telling the backstory he creates to flesh out his arrogant character. He accepts the “dream job” of “Batman”, but finds himself unable to star in the rubberized costume and refuses to play the role again, choosing to do “The Saint”, where he can create 10 characters in one movie.
These revelations have moments of insight into the life and work of an actor. However, there are only a few useful nuggets – like when Kilmer describes wanting to lie down on a bed of ice for his deathbed scene in “Tombstone” so he can feel the discomfort that his character, Doc Holliday, must have felt. Less impactful is Kilmer describing the year he spent wearing leather pants and learning to move like Jim Morrison in preparation for “The Doors.” His commitment to his craft as a methodical actor is never questioned, but “Val” allows viewers to relate to what all of his efforts have accomplished, and some may not be disturbed.
“Val” often glosses over things of potential interest. When Kilmer finally gets to work with Brando on the “doomed” production of “Dr Moreau’s Island,” there is limited exchange with the legendary actor. (It seems they don’t get along, which requires a response to meeting your idols). At least one fight Kilmer has with director John Frankenheimer, and his conversations with his beleaguered costar David Thewlis are interesting.
Kilmer recognizes that for an actor, once you accept the role, you have to forget about your life for a while. It’s not a groundbreaking statement, but it does fuel his commitment to playing Mark Twain in a one-man show he wrote titled “Citizen Twain”. Alas, his health deteriorates, which derails his future plans for the series.
The moral of “Val”, perhaps Kilmer is his own worst enemy, an idea that gives the film its diffuse power. This is reminiscent of Kilmer’s commitment to Christian Science – his faith is what he claims to get him through, but his self-esteem continues to take repeated hits. “Val” certainly breeds sympathy, but it sometimes feels like crocodile tears.
A sad story from Kilmer’s personal life supports this hypothesis. When his father, a real estate developer, co-signed Val’s papers for a deal – and puts his son’s name on a number of shell companies without permission – Kilmer is forced to sue or write a check. This is another paradox for the actor. What he does says a lot about his character. If only “Val” was still this revealing.
“Val” is available to stream August 6 on Amazon Prime.
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