Alejandro González Iñárritu has always made powerful films, among them AMORES PERROS, 21 GRAMS, BABEL, and BIUTIFUL. A very serious filmmaker with very serious messages running throughout his filmography. So when the trailers for BIRDMAN first started appearing, there was a lot of head scratching, and even overt confusion as to whether this endeavor was a theatrical version of HARVEY BIRDMAN, a night time satirical cartoon, or just some weird diversion. Nope. Nothing so simple.
BIRDMAN follows the efforts of franchise actor Riggan Thomson, a performer of serious aspirations trapped by a megamillion making character (the titular BIRDMAN) who now haunts him as an ever present voice, his id coming backto prod and poke at him, as Riggan tries to redefine himself as a Broadway auteur. Everything is riding on the struggling production, and in desperation he manipulates an accident into happening to his leading man, an actor he isn't happy with. This may or may not be done through means of telekinesis, we are never sure. Riggan's Quixote like mission may be hampering his perception of reality around him. Soon he has his dream replacement, a method actor named Mike, who invigorates the play, even as he challenges Riggan to the point of psychosis. Surrounded by other characters, like Riggan's assistant/daughter, Sam, in recovery for substance abuse, Mike's lover, Lesley, an actress in the production, and Riggan's paramour, laura, also in the cast, who is carrying their unborn child. Stress and doubt permeate every moment of things, while Riggan's manager, Jake, tries desperately to keep the gears moving, towards opening night, even as the specter of BIRDMAN circles around Riggan's consciousness, creating incessant tumult and doubt.
What's crazy about BIRDMAN, is it's firm, Ouroboros like grasp on art-imitates-life-imitates art. Michael Keaton, our Riggan, is not unlike his character, having been for many fanboys the defining BATMAN in the two Tim Burton films that re-launched the character cinematically, to an insane amount of financial success and media hype. Emma Stone, as Sam, is also tied to another superhero franchise, the recent takes on SPIDER-MAN. BIRDMAN doesn't blithely fly past this, we the viewer are acutely aware of having seen them in those respective films. We also have Zach Galifianakis, still reeking from all those insipid yet insanely popular HANGOVER movies. These are all actors tied to gargantuan tentpole productions, who like their characters, are trying to do something more, something with meaning, in the context of BIRDMAN. It's all very meta, but it is never, ever trite and played up as stunt casting. The closest thing I can compare this amazing film to is another major cinematic achievement, Bob Fosse's ALL THAT JAZZ. Both films share the plight of a legend looking back on their life, and wondering if the legacy they are leaving is enough. they've ignored family, missed out on living in general, something that should actually be the axis of any serious performer, experience, and the fear of living up to unreal expectations. Then there is the need to express true creative expression, valid artistry, after the guilt of pandering has set into the DNA of who they are as "stars".
Ed Norton as the volatile yet invigorating actor Mike damned near steals the show, but the real centerpiece? The writing. Holy shit, this film has some profound and show stopping monologues. The cinematography, courtesy of Emmanuel Lubezki, who performed no small miracle with his magician like work on GRAVITY, creates a seamless, almost constant one take shot in BIRDMAN. The viewer is never contained by it though, it's not overwrought or claustrophobic in any sense, and BIRDMAN is well under way before we even realize what's going on inside the camera and the sets.
BIRDMAN is a film that begs to be seen multiple times, it's structure and technique studied, both for it's technical prowess, it's story design, and it's performances. I'm used to writing about "cool flicks" much more than densely articulated art films, but BIRDMAN walks the line between both, working as a statement with poignant and profound depth, and as a meta-based entertainment. A true achievement, and I fully expect to see this masterpiece sweep up many wards come Oscar time.
Rating: 4.75 out of 5
~Sean Smithson
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