纪录片自媒体解说素材-新闻动态参考-“ Val”评论：Val Kilmer回头看他的明星，他从中跌倒，以及40年的自我评价/‘Val’ Review: Val Kilmer Looks Back at His Stardom, His Fall From It, and 40 Years of Self-Videotaping
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0507/0443g0nvf1qhnmt.jpg“ Val”评论：Val Kilmer回头看他的明星，他从中跌倒，以及40年的自我评价
‘Val’ Review: Val Kilmer Looks Back at His Stardom, His Fall From It, and 40 Years of Self-Videotaping
在“ Val”中，演员Val Kilmer现已60年代初，在我们面前以自己的破碎遗物出现在我们面前。他的脸曾经笑着凿，带着类似于咬人的微笑，现在看起来湿透和柔和，深色的眉毛给了他一个奇怪的尼克松演员。更明显的是，他用薄薄的机器人rasp讲话，这是在气管上执行的手术以治愈2015年被诊断出的喉咙癌的结果。Kilmer击败了癌症，但留下了那只刮擦的语音盒无人机，这需要一点习惯了。然而，一旦您习惯了它，您就会意识到他是同一个家伙，或者至少是年龄较大，更聪明，更忧郁的版本。基尔默曾经说话很快；那是他在“真实天才”之类的电影中的喜剧表现的一部分，那个看起来像个太阳神的家伙在超级驱动中说话。关于他的一切现在都慢了，我们可以看到说话所需的努力如何改变了他。他是一个不再能负担得起的话的人。Leo Scott和Ting Poo导演的“ Val”是Kilmer的肖像 - 演员，名人，人类 - 也就是说，在许多方面都是自画像，因为它建立了Kilmer制作的40年价值的视频。他自己。他在整个痴迷中都对自己的自我录制在其他所有人之前。无论他身在何处，他都让摄像机在家里，在电影套装上奔跑。 （这有点像躁狂症。）这部电影在拍摄“ Top Gun”期间与Rick Rossovich一起在拖车中逛逛，并有一个有趣的序列，其中一个有趣的序列约翰·弗兰肯海默（John Frankenheimer）莫罗（Moreau）。在两分钟内，我们确切地看到了整个“困难演员”的工作方式。基尔默（Kilmer）是那些被称为困难的明星之一，可能是，但不是因为他试图成为唐娜（Prima Donna）。他关心这项工作 - 也许太多了。很难Ult是他让每个人都为将他捕获到他发现的系统中所满足的系统而付出的代价。看着Val Kilmer现在很诱人地将他视为失去一切的男人：他的声音，他的外表，他的职业，他的职业，他的家人（很明显，他1996年与乔安妮·沃利（Joanne Whalley）的离婚，他于1988年结婚的英国女演员，将他撕裂了）。他浮肿的脸上可能会提醒您米奇·鲁克（Mickey Rourke）的脸，部分原因是基尔默（Kilmer）现在似乎是衰老，曾经是著名的战斗机罗克（Rourke）在《摔跤手》中扮演的电影明星。基尔默（Kilmer）的某一时刻在家，地板上有一堆东西，在碎屑中，他是《娱乐周刊》每周“很酷的问题”的副本，他在蝙蝠侠上被封面。正如我们所了解的那样，打帽十字军对他来说并不是一个胜利的经历，这就是为什么他只有一次就离开了这个角色的原因。那么他为什么要抓住那本杂志呢？有一次，我们在Comic-Con上看到Kilmer，在“ Top G”上签署“您可以随时成为我的边锋”联合国海报 - “摔跤手”的一个场景，尽管在这种情况下，这甚至是可悲的。他本人的真人秀剥削是，基尔默（Kilmer）带来了这部电影一种令人难以置信的自我意识。从十几岁的时候开始，他的一生中发生了很多悲剧，他的一个兄弟在癫痫病健康后死于按摩浴缸。基尔默说，这让他“有悲伤”。然而，在“瓦尔”中，瓦尔·基尔默（Val Kilmer）向我们展示的是一种斜体版本，是许多人经历的人。电影明星往往会有一个“时刻”，它可以持续一定年限，然后他们不再是奥林匹斯山上的闪亮明星。他们仍然很出名，但他们已经落在地球上。就基尔默而言，他的职业生涯的跌宕起伏以特别的痛苦袭击了我们，因为他从明星王国堕落到一定程度上是他自己的做Ing.他是一位认真的演员，他去了朱莉亚德（Juilliard），并在1980年代的热区中出现。我们在1983年的《平板男孩》（The Slab Boys）的作品中看到了他的后台，这是百老汇的热门戏剧，在肖恩·佩恩（Sean Penn）和凯文·培根（Kevin Bacon）将梅花零件迪布（Dibs）带到了更多的梅花零件之后，他被推入了第三阶段的角色。然而，他是机器想要的那些美丽的明星之一。他用“ Top Gun”演员表演了他的名声。他现在说：“在我的余生中，我将被我去的每个机场的每个飞行员称为冰人。”他想要名望吗？是的当然。不，他想要更多的东西：成为一名受启发的演员，制作出色的电影。对于在80年代出现的任何人来说，这都是一个艰难的平衡行为。自我和理想主义。他以复仇的身份担任某些角色，为“全金属夹克”等电影制作自己的试镜磁带nd“ Goodfellas”（他实际上跟踪了Kubrick）。然而，尽管他所有的演员都热情，他有一种吹炸弹的方式，选择了像“柳树”这样的坏项目，或者只是利用他的辨别力来说出自己可能应该做的事情。他知道“门”很特别，花了几个月的时间穿着皮裤并研究吉姆·莫里森的举动，尽管即使在那里他的固定措施也有很多 - 他表示这是破坏婚姻的一部分。 1995年，他穿上了“永远的蝙蝠侠”的击球服，事实证明，蝙蝠服是他讨厌的。他无法搬进事情，听不到其他演员，感觉就像是木偶。听起来也许就像是一位艺术家说话，直到您看到Kilmer对“ Yes of Moreau岛”（他与他的偶像Brando合作的机会）或“圣人”的机会。他开始拒绝明星，或者至少不耕种，但他的愚蠢的一部分是他从未学过这堂像汤姆·克鲁斯（Tom Cruise）这样的人理解：培养明星是您做好电影的方式。拒绝明星，它可能会拒绝您。Kilmer仍然有他的孩子，生活与女儿相邻，显然是他一生的光芒。“瓦尔”对马克·吐温（Mark Twain）的迷恋而徘徊，马克·吐温（Mark Twain）在几年中在几个项目中扮演了几个项目，尽管这部电影对他对基督教科学的奉献无话可说，这是他长大的宗教。在“瓦尔”覆盖的40年中的大部分时间里，基尔默（Kilmer）是一种痴迷的生物，可能是他自己最大的敌人。在他的高处，有一些关于他的东西。然而，他现在有一个男人的光环，他正在处理他的宇宙来源并通过它。他从明星身上摔下来，也许是从恩典中摔下来，但他做到了。而且他还在这里，暗示恩典是您可以爬回的东西。
In "Val," the actor Val Kilmer, now in his early 60s, appears before us as a broken-down relic of himself. His face, once beaming and chiseled, with that smile that resembled a bite, now looks soggy and morose, with dark eyebrows that give him an oddly Nixonian cast. More dramatically, he speaks in a thin robotic rasp, the result of a procedure performed on his trachea to heal the throat cancer that was diagnosed in 2015. Kilmer beat the cancer but was left with that scratchy voice-box drone, which takes a bit of getting used to. Yet once you do get used to it, you realize he’s very much the same fellow — or, at least, the older, wiser, more melancholy version. Kilmer used to talk quite fast; that was part of his comic sauvity in films like "Real Genius" — that this dude who looked like a sun god spoke like a geek in overdrive. Everything about him is slower now, and we can see how the effort it takes to speak has changed him. He's someone who can no longer afford to mince words.
"Val," directed by Leo Scott and Ting Poo, is a portrait of Kilmer — actor, celebrity, human being — that is, in many ways, a self-portrait, since it’s built around 40 years’ worth of videos that Kilmer made of himself. He was onto the whole obsession with self-recording ahead of everyone else; he kept a video camera running at home, on movie sets, wherever he was. (It was a bit of a mania.) The film opens with him horsing around in his trailer with Rick Rossovich during the shooting of "Top Gun," and there’s a funny sequence in which John Frankenheimer, the director of "The Island of Dr. Moreau," orders Kilmer to stop his video recording, and Kilmer says he’ll do so if Frankenheimer pledges not to leave the movie. In two minutes, we see exactly how the whole "difficult actor" thing works. Kilmer is one of those stars who was branded as difficult, and probably was, but not because he was trying to be a prima donna. He cared about the work — maybe too much. Being difficult was the price he made everyone pay for trapping him in a system he found too little satisfaction in.
Looking at Val Kilmer now, it’s tempting to view him as a man who lost everything: his voice, his looks, his career, his family (it’s clear that his 1996 divorce from Joanne Whalley, the British actress he married in 1988, tore him apart). His puffy wrecked face may remind you, at times, of Mickey Rourke’s, in part because Kilmer now seems the movie-star equivalent of the aging, once-famous fighter Rourke played in "The Wrestler." At one point Kilmer is at home, with a bunch of stuff on the floor, and there, amid the detritus, is the copy of the Entertainment Weekly "Cool Issue" in which he was on the cover as Batman. As we learn, playing the Caped Crusader was not a winning experience for him, which is why he walked away from the role after just one go. So why does he hold onto that magazine? At one point we see Kilmer at Comic-Con, signing "You can be my wingman anytime" on "Top Gun" posters — a scene right out of "The Wrestler," though in this case it’s even sadder.
What makes "Val" a good and heartfelt movie, rather than just some glorified movie-star-as-trashed-parody-of-himself piece of reality-show exploitation, is that Kilmer brings the film an incredible sense of self-awareness. He’s had a lot of tragedy in his life, starting with when he was a teenager and one of his brothers died in a Jacuzzi after suffering an epileptic fit. Kilmer says that it left him "raw with grief." Yet in "Val," what Val Kilmer presents to us is a kind of italicized version of what so many people go through who are famous. Movie stars tend to have a "moment," which lasts a certain number of years, and then they’re no longer the shining star on Mount Olympus. They’re still famous, but they’ve come down to earth.
He was a serious actor who went to Juilliard and came up during the hot zone of the 1980s. We see him backstage during the 1983 production of "The Slab Boys," the hot-ticket Broadway play in which he was shoved into a third-tier role after Sean Penn and Kevin Bacon took dibs on the more plum parts. Yet he was one of those beautiful stars who the machine wanted. His casting in "Top Gun" catapulted him to fame. "For the rest of my life," he says now, "I will be called Iceman by every pilot at every airport I ever go to." Did he want the fame? Yes, of course. And no, he wanted something more: to be an inspired actor, making great movies. That was a tough balancing act for anyone who came up in the '80s.
In "Val," Kilmer takes us through his career, and in each case the movie he’s shooting becomes a lens through which we get to peer at his shifting mix of ego and idealism. He went after certain roles with a vengeance, making his own audition tapes for movies like "Full Metal Jacket" and "GoodFellas" (he practically stalked Kubrick). Yet for all his actorly ardor, he had a way of blowing opportunities, of picking bad projects like "Willow," or of simply using his discernment to talk himself out of things he probably should have gone with.
He knew that "The Doors" was special, and spent months wearing leather pants and studying Jim Morrison’s moves, though even there his fixation got to be a bit much — he indicates that it was part of what wrecked his marriage. In 1995, he put on the Batsuit for "Batman Forever," and it turned out that the Batsuit was what he hated about it; he couldn’t move in the thing, couldn’t hear the other actors, and felt like a puppet. That sounds, perhaps, like an artist talking, until you see the movies that Kilmer said yes to instead, like "The Island of Dr. Moreau" (his chance to work with his idol Brando) or "The Saint." He began to reject stardom, or at least not to cultivate it, but part of his folly is that he never learned the lesson that people like Tom Cruise understood: that cultivating stardom is the way you get to do good movies. Reject stardom and it may reject you back.
Kilmer still has his kids, and lives adjacent to his daughter, and they are clearly the light of his life. "Val" lingers on his fascination with Mark Twain, who he played in several projects over a period of years, though the film has little to say about his devotion to Christian Science, the religion he grew up with. For most of the 40 years covered in "Val," Kilmer comes off as a creature of obsession, one who could be his own worst enemy. At his height, there was something entitled about him. Yet he now has the aura of a man who was dealt his cosmic comeuppance and came through it. He fell from stardom, maybe from grace, but he did it his way. And he’s still here, suggesting that grace is something you can climb back to.
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