Page 1 / 2 - Home

In KKBB, both Downey and Kilmer play against their characters' stereotypes. The result is not only refreshing, but also refreshingly realistic. Together, their two characterizations make for a great onscreen team. Yes, throughout the film they regularly bump up against each other's sexual orientation. And yes, they regularly “dis” each other's sexual stereotypes. But it never gets in the way of their underlying friendship or the detective business at hand.

Particularly enjoyable was the way in which neither Downey 's nor Kilmer's characters ever made apologies for themselves (or for each other). They simply come to terms with one another's sexual orientation, albeit grumpily, from the moment they meet and move on.

Many film plots that try to work in a gay character tend to get overly mawkish. They will often pause (and lose steam) for what always seems like politically correct hetero audience sensitivity-training regarding special ways gays should be treated when depicted amongst heteros. But in KKBB there is no such pussyfooting. Each side of the buddy duo is free to exhibit his gut dislike for the other's sexual proclivities without it getting in the way of anything.

Furthermore, Kilmer's “Gay Perry” is a master player within the cutthroat world of L.A. 's pros, cons, losers and wannabes. He is ruthless and relentlessly tough (as many gay Hollywood power guys undoubtedly are). He has little patience for Lockhart's bumbling hetero nature. “Gay Perry” is not in need of any special kid glove handling just because he's queer.

In a way, this kind of character set-up gives some breathing room to the difficult issue of how to portray gay and straight men working together. KKBB gives more credit to straight guys' acceptance of and attitude towards gays than is usually afforded them.

Before I went to see Kiss Kiss, Bang Bang , I went on the internet to read its synopsis and check out its “buzz.” As I searched around the net I came across several chat sites that included threads discussing the film's “homophobia.” I read some pretty heated accusations, denials, and exchanges.

After seeing the film, I think much of the “homophobia” brouhaha is just over-sensitivity. What I find way more offensive than any perceived homophobia in this film is its enabling of the disgusting resurgence of the tobacco industry's infiltration of Hollywood . There is so much gratuitous cigarette smoking all throughout this movie - ever so carefully positioned to come off as edgy and hip. Clearly, someone was getting paid off to include it.

In one of the best performances of his career, Kilmer creates a credible gay character that does not play up to stereotypical gay mannerisms (unusual when straight actors play gay parts). In doing so he manages to make Gay Perry a full, actualized, person (as opposed to being just a supporting role to Downey 's Lockhart). Kilmer's Gay Perry is a person with his own mysteries, his own direction and his own agenda. He is the second half of the film's central pairing, not a token sidekick (in the way so many gays and varying ethnic types have been portrayed in the past).

I think this film will help pave the way for more future inclusions of gay characters in Hollywood. It won't be lost on producers that KKBB's best moments are when Kilmer and Downey are on screen together. The film's ending begs a sequel, and I'll bet we will see this gay/straight “buddy” detective team on screen again.

Get more info on the movie at the official site

Page 1 / 2 - Home