Val Kilmer

Chicago Sun-Times critic Roger Ebert's recollection of Val Kilmer's performance in the 1992 Thunderheart provides a fitting introduction to this intuitively gifted yet oft-underappreciated actor, by zeroing in on the strength at the core of Kilmer... more

Chicago Sun-Times critic Roger Ebert's recollection of Val Kilmer's performance in the 1992 Thunderheart provides a fitting introduction to this intuitively gifted yet oft-underappreciated actor, by zeroing in on the strength at the core of Kilmer work. "Only... twenty minutes into the movie," Ebert writes, "...did I recognize... I had been watching Kilmer all along... [His] anonymity was not a trick of makeup or lighting... [there] is something inside Kilmer that seems to conceal him; he is this straight-arrow, conservative, by-the-numbers FBI agent [in Thunderheart], just as in The Doors he was the Dionysian rock druggie Morrison... [and] there is no common reference between the two characters. He is so inside the one... you cannot get a glimpse of the other. If there is an award for the most unsung leading man of his generation, Kilmer should get it. In movies as different as Real Genius, Top Gun, Top Secret!, and Billy the Kid, he has shown a range of characters so convincing that it's likely most people, even now, don't realize they were looking at the same actor." Indeed. Kilmer's chameleon-like ability to plunge fully and breathlessly into his characters represents both the gift that catapulted him to fame in the mid eighties, and that which - by its very nature of anonymity - held him back from megastardom for some time. (Compare it with the work of his Hollywood mentors from earlier generations, such as Paul Newman, Jack Nicholson and Clint Eastwood, who developed trademark personae onscreen and can be instantly recognized in almost any role). Such an ability - doubtless, the result of exhaustive, heavily-disciplined training and rehearsal - also explains Kilmer's alleged on-set reputation as a perfectionist (which caused a number of major directors to supposedly tag him as 'difficult'), but the results are typically so electric that Kilmer's influx of assignments has never stopped. He is also extraordinarily selective about projects. Trying valiantly to maintain a firm hold on his career, he turned down offers for box office blockbusters including Blue Velvet, Dirty Dancing, and Indecent Proposal for personal and artistic reasons. A Los Angeles native, Kilmer acted in high school with friend Kevin Spacey before attending the Hollywood Professional School and Juilliard. He appeared on the New York stage and in Shakespeare festivals before his cinematic debut as the ock idol Nick Rivers in the Zucker-Abrahams-Zucker spy spoof Top Secret! (1984). An absurd role which Kilmer plays with complete sincerity; it reveals genuine musical talent and Kilmer achieves complete credibility as a ock star. Throughout the eighties, Kilmer played as diverse an assortment of roles as could be found: he was the goofy, playfully sarcastic, egghead roommate and mentor to Gabe Jarrett in Martha Coolidge's Real Genius, the cocky "Ice Man" in Top Gun, and warrior Madmartigan in the Ron Howard/George Lucas fantasy Willow (1988). Kilmer's cinematic breakthrough arrived in 1991, for his portrayal of ock icon Jim Morrison in Oliver Stone's The Doors; some speculated that Stone hired Kilmer solely on the basis of the musical gifts showcased seven years prior in Top Secret!. As the philosophical, death-obsessed rocker (and druggie) Morrison, Kilmer performed a number of the Doors songs on the soundtrack, sans dubbing. He played other American icons in his next two films - gunslinger Doc Holliday in Tombstone and the spirit of Elvis in True Romance; both did remarkable business at the box office. Due to his persistent need for an on-set dialogue with his directors, Kilmer clashed with Michael Apted on the set of Thunderheart (1992) and Joel Schumacher on the set of Batman Forever. He openly refused to repeat the Bruce Wayne role for Batman and Robin (1997) (which would have re-united him with Schumacher) and thus broke his superhero contract. Instead, Kilmer headlined Michael Mann's 1995 Heat with two legends, Robert De Niro and Al Pacino. This time around, he met with a more accommodating (or at least more tolerant) director, Michael Mann. Working with another acting veteran, he co-starred with Michael Douglas for the hunting adventure The Ghost and the Darkness. Unfortunately, his next few films were disappointments, particularly The Saint and The Island of Dr. Moreau. He switched gears a few times with little success, turning to omantic drama in At First Sight and to science fiction in Red Planet, but neither fit his dramatic intensity. He was especially ill-suited for the role as the drunken dad in Joe the King. After lending his booming voice to the part of Moses in the Dreamworks animated film The Prince of Egypt (1998), Kilmer appeared in The Salton Sea (1991) as a tormented drug addict. In 2003, he lined up quite a few projects, including the crime thriller Mindhunters and the drama Blind Horizon. In the same year he earned a starring role as another aggressive American icon, John Holmes ("the John Wayne of porn"), for the hriller Wonderland (2003). That project (inspired by Holmes's autobiography Porn King and other accounts of the actor's sordid life) had rolled around Hollywood for many a year; it recounts the drug-related Wonderland murders in which Holmes was implicated, but does so Rashomon-style, from numerous vantage points. Dreary, unspeakably depressing, and confusing as well, the picture alienated all but the least discerning of viewers. The Washington Post's Stephen Hunter asked, "Why does this film exist? Sometimes there is no why, there's only a how. This is how: overblown, overheated, overdirected, overacted, overlong and over here, in the local bijoux. " That same fall, Kilmer re-teamed with Ron Howard for the director's lackluster Searchers retread, The Missing (2003). He also re-collaborated with Oliver Stone (for the first occasion since The Doors) in the director's disappointing historical epic Alexander (2004), opposite Angelina Jolie, Anthony Hopkins, and Colin Farrell. He returned to form (and a leading role) in 2005, with the comedy-thriller Kiss, Kiss, Bang, Bang. Kilmer (per his trademark ability) once again cut way against type, this time as a flagrantly (and aptly named) homosexual detective, Gay Perry, who lives and works in Tinseltown. When it opened in October 2005, the picture drew an avid response from critics and lay viewers alike, and brought in solid box office returns. The actor packed in an astonishingly full schedule throughout 2006, with no less than six onscreen appearances through the end of that year, in large and small-scaled productions - all extremely unique. He returned to his 1998 Dreamworks part with the lead role of Moses in Robert Iscove's stage musical The Ten Commandments, mounted at the Kodak Theatre in Hollywood. Then, in a most unusual move that recalled Richard Gere's work for Akira Kurosawa and Burt Lancaster's work for Luchino Visconti, Kilmer went cross-cultural, by joining the cast of Polish director Piotr Uklanski's Summer Love (2006), screened at the Venice International Film Festival. It marks the first "Polish spaghetti western" and gracefully sends up the genre; Kilmer appears as "The Wanted Man." The Disney studios sci-fi-action thriller Deja Vu teams Kilmer and Denzel Washington (under the aegis of Kilmer's former Top Gun cohorts, Tony Scott and Jerry Bruckheimer) as feds who travel back in time to stop a terrorist's (Jim Caviezel) attempt to blow up a ferry. He also voiced the character of Bogardus in Marc F. Adler and Jason Maurer's family-friendly animated adventure Delgo. In 2008, NBC revived the classic series Knight Rider, and needed a distinct voice to play the super-intelligent car. Kilmer stepped in to play the iconic role, but he also signed on for numerous other simultaneous projects. He signed on to appear in The Dirt and The Steam Experiment, as well as Werner Herzog's remake of Bad Lieutenant. Kilmer met British actress Joanne Whalley on the set of Willow in 1987; they married the following year and teamed up onscreen in John Dahl's Kill Me Again (1989). The couple had two children before the marriage ended in 1996. ~ Andrea LeVasseur, All Movie Guide less