by Cody Norton
Hello, Oscar Season, a.k.a. the last four months of the year where production companies release all of their quality films to compete for the Academy Awards. After enduring eight months of thoughtless films riddled with plot holes and lousy narratives, Birdman serves as a welcome transition into more intelligent filmmaking. Phenomenally acted with an unflinching commitment to its single take narrative, Birdman or (The Unexpected Virtue of Ignorance) provides a deep examination of a man’s struggle to stay relevant in a rapidly evolving world.
Centered on the plight of Riggan Thomson (Michael Keaton) to establish a successful Broadway play, Birdman examines the diminishing psyche of a man who once soared the skies as a beloved superhero icon. Now sitting at a point of permanent anonymity, he is making a last ditch effort to resurrect what once was an illustrious acting career. In the end he goes out with a bang, but whether he will regain his fame remains unknown as a result of his unstable mind. But it is within his damaged head that the brilliance of the film emerges.
From the initial shot of Riggan hovering above the ground, it appears that supernatural elements may exist within the film. Instead, marvelous cinematography, subtle camera movements, and perfectly cued character reactions expose the contrast between Riggan’s perception and reality. Through these subtleties, a clear understanding of Thomson’s world becomes apparent.
Good films leave you guessing about the ending, but truly great ones provide you with enough information to make a conclusion. Birdman accomplishes this task without having to resort to psychological gimmicks. Riggan could have easily snapped earlier, but allowing this struggle to endure provides the necessary tension for the penultimate scene of the film.
Birdman soars above the competition thanks to its ironic cast selection. Michael Keaton is perhaps best remembered for his portrayal of Batman where he, exactly like Riggan Thomson, refused to reprise the role for a third time. Both have since struggled for relevancy but now provide career-defining performances. Edward Norton, well known for his persistent involvement with his films, portrays Mike Shiner, who after just meeting Riggan is making suggestions for script adjustments. Do-gooder Emma Stone diversifies as the bitter, recovering drug addict, Sam, the daughter of Thomson. Most ironic though is Zack Galifianakis’ straight man performance as Jake who desperately struggles to keep the play afloat with each new problem. This is his first serious role since his breakout with The Hangover and is surprisingly believable as the only sane character in the film.
Unlike movies akin to The Wolf of Wall Street that focus on characters’ desires for wealth and fame, Birdman succeeds by focusing on the relatable concern of self-doubt. The character’s emotions are believable and the common theme of existentialism doesn’t feel forced. Despite Keaton not relating to Thomson’s fears, he at least understands his motivations and provides an honest performance as a result. This particular focus is incredibly difficult to muster for characters that are as insistently mean as they are. Mike and Riggan are constantly competing in a battle of showmanship to establish dominance, and yet, there are enough tender moments that by the end of the film, both are almost likeable.
It is during these confrontations that Birdman hits its stride. The dialogue is incredibly sharp, and previously well-concealed thoughts bubble out into some great monologues. Sam’s vicious attack on her father’s aspirations as an actor exposes the strain in their relationship. Riggan’s final confrontation with Tabitha (Lindsey Duncan) examines the more antagonistic relationship that sometimes exists between actors and film critics. Birdman dares you to find faults in it while not so subtly emphasizing the enormous risk taken with involvement in any movie. It succeeds by balancing the more manic actions of the characters with calm, reflective moments.
Birdman excels by not allowing itself to be pigeon-holed into a particular genre. Possessing elements of a dark comedy, psychological character study, and even superhero themes, it explores an array of topics without confinement to any one of them. Highlighted by the superb performances of its stars, Birdman illustrates the splendor of original filmmaking when given the freedom to explore and flies higher than any movie has this year.
Verdict: A
