Review by Benn Robbins |
I went into Birdman knowing it was going to be amazing.
I was not disappointed.
Birdman is amazing.
Academy Award nominated director, writer and producer, Alejandro G. Iñárritu’s very meta introspective black comedy is about an actor (Michael Keaton) – famous for portraying an iconic superhero – as he struggles to mount a Broadway play.
In the days leading up to opening night, he battles his ego and attempts to recover his family, his career, and himself.
That is the bare bones description that came in my EPK press kit. What this film really is a a study of life, love, friendship, ego, insanity, family and loss.
It is also one of the best movies I have seen in the last 10 years.
Birdman triumphs at getting to the root of what what it means to be human through analyzing the downfalls of celebrity and what it means to live forever in the public consciousness. Riggan Thomson (Keaton) is a washed up former blockbuster movie star who once starred in one of the biggest comic book movie franchises of all time, BIRDMAN. Sound familiar? Well it should.
Birdman is Michael Keaton
Michael Keaton IS Birdman.
Keaton’s performance is totally Oscar -worthy and he should be recognized this year when the nominations roll around. He seems to be delving deep into his own experiences of being the first screen Dark Knight and his subsequent walking away from a role that almost consumed him. His flaws are his greatest strength, both as the character and as an actor.
No one else could have sold this role more than him. Both for the obvious reasons of his turn as Batman but also, Keaton is so beautiful at the crazy over-the-top however unlike so many of his fellow comedic actors, his subtleness and quiet do not get lost in the frenzy. He takes his time and is patient and loving to the sensitive. If for no other reason, you should go see this movie to watch stellar acting from a sometimes underrated master of his craft.
Keaton is not alone in this film and his supporting cast is not so much supporting but also the stars of this film as well and deserve equal accolades. I really wish there was an academy Award for Best Ensemble Cast because sometimes a films cast isn’t so much a bunch of actors but a homogenous entity breathing life into an already phenomenal piece.
Naomi Watts (Mulholland Drive), who is Lesley, is an up and coming actress who is making her Broadway debut in Riggan’s play and this is the beginning and the end of everything she holds to be important in her life. It’s success and/or failure, in her mind, parallels her own. Everything she is, is counting on this play being a hit. That is why, when they lose one of their actors to a freak accident, she risks everything to recommend her sometimes, outrageous but talented boyfriend, Mike to take the role. Even though she knows it may be more trouble than it’s worth.
Edward Norton (American History X)’s casting as Mike Shiner, the very difficult to work with “actor/artist” is sublime. The casting here for everyone is crucial and not done lightly. As Norton is known to be in real life, Shiner is in the movie. Known to be a loose cannon and to outbursts of crazy, Shiner is hired because his reputation as one of the theater’s greatest actors of his generation is guaranteed to bring in audiences and brilliant reviews. Immediately Riggan and Mike butt heads on creativity and intent.
Zach Galifianakis (The Hangover), is a bit of role reversal, plays probably the most sane character in the film. As Riggan’s friend, lawyer, and producer of the play, Jake basically spends the entire film just trying to hold the production together and afloat amidst actor clashes, law suits, mental breakdowns and money issues. He is subtle and the exact opposite of his usual zany portrayals we are used to seeing him in.
Emma Stone (The Amazing Spider-Man 2) is brilliant as Riggan’s ex-junkie daughter, just out of rehab and getting her life back together. Her presence in Rigggan’s life and in this film symbolize the redemption and forgiveness sought by everyone for past transgressions both from others and from ourselves.
Rounding out the cast are the phenomenal Lindsay Duncan (“Sherlock”) as cold hearted theater reviewer, Tabitha. Amy Ryan (Gone Baby Gone) as Riggan’s caring ex-wife, Sylvia. Andrea Riseborough is amazing as Laura, Riggan’s lover and co-star in the play.
Aside from the acting and story, two other aspects that truly make this a fantastic film are the music and the cinematography. Both are crucial and hinge on each other to work. The first thing you will notice is the soundtrack. Not only does it set the mood of the film, it also dictates the pace of the film. The Mexican drummer Antonio Sanchez, one of the best in the world, sets the tone and rhythm as we journey with Riggan through his self-discovery, defeat and reflection of self.
After the music, and along with the music you will note that there is something different about the “cutting” and shooting of this film. There are not “cuts” Through the use of Stedicam and hand-held cameras, this film is seamlessly tied together, digitally, into one continuous shot. From beginning to end, there isn’t a visible edit throughout. This has the effect of not only making the camera, the location of the theater and New York itself, a character of the film. It is also used, in conjunction with the erratic and skillful drumbeat music, to heighten the manic insanity that Riggan reaches even that much more erratic and makes the subsequent crescendo that much more intense.
Everything, as you have probably guessed, about this film is amazing and I think the worst part about it is that most of you will not have a chance to see it. Not that you won’t see it but that you won’t even get the choice to see it. At least not on the big screen. I can totally see this film NOT getting as wide a release as it deserves and the theaters seeing it as an “art house” film and shuffling it to the back of their screening lists. It is a true shame and one that I hope you will find a way to overcome.
I will definitely see it again and I will champion this film to the end.
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