Kiss Kiss Bang Bang (2005) is inspired by the “noaar” film.
That means: You get the heroes with a complicated and (sometimes not so) dark past, who wonder in the bleak streets, deep in thoughts + the story being complicated so that you almost do not know what is happening and as well as the characters you are swayed from one place to another, meeting mysterious people and getting even more mysterious information.
FUUU (15 points for it in scrabble, if you’re good)!
There are things in this film though, which make it different from noirS, particularly the main hero Harry. He is supposed to be the detective, he has the role, but he is not! His voiceover narrates the story, but not in a classy smooth and suggestive HARSH POETICS of Phillip Marlow (he could have started the Beat movement if he had not been a workaholic). Instead, Harry throws in his unlikely phrases and ironic self-reflection and on top of that, he does every kind of violence to the film itself, interrupting it in several places with his babbling.
Why?! Is that the difference between noir and ‘neo-noir’, between old films and new films? Cannot we pay attention for 90 minutes because of our endless egocentrism? And does Kiss Kiss Bang Bang actually mean to communicate this message or is it just another irony?
Let’s not end with SUGGESTIVE rhetoric questions.
Mainly through its main hero, Kiss Kiss Bang Bang moves away from the genre of film noir into the sphere of more reflexive, self-aware cinema. However, the change in the way we look at films and think about them does not only consist in our knowledge of their conventions. It also involves our attitude to film as a phenomenon. The extremely quick and simple access to films made us less sensitive to their value as cultural events, craft or even as genuine and honest statements. The appreciation of a piece of story is apparently not the same as 60 years ago.
So go home and think about yourselves!