Birdman: Or (The Unexpected Virtue of Ignorance)

Courtesy of Fox Searchlight Pictures, Regency Enterprises, New Regency Pictures, M Productions, Le Grisbi Productions, TSG Entertainment, Worldview Entertainment.

If your only reason for seeing this film is to bask in the glory that is the one continuous shot, than that is a bad reason. Other reasons that are worth considering: a cast of some of the most amazing actors of the past decade, a story that flits between magical realism and high tension, a setting that calls for both megalomania and self-doubt, and a visual style that is both alienating and familiar, than this is the film for you.

Watching the Oscars this year, I was actually very surprised that “Birdman” won the amount of awards that it did. Generally films that show the complexities of the human condition, the toll of fame, and the burden of artistic proof, don’t do well against intense social dramas or biopics. Most critics were content to think “Boyhood” would take the top prize at the Oscars, but then “Birdman” arrived and doubt was cast, making for a very close race. Alejandro González Iñárritu became only the second Latino to win Best Director in Oscar history, while also picking up awards for Best Picture and Best Original Screenplay.

“Birdman” follows the exploits of Riggan (Keaton) who is most famous for portraying the superhero Birdman, an ode to Keaton’s turn as Batman. Riggan is trying to put on an adaptation of Raymond Carver’s short fiction (as a play) on Broadway. Riggan must battle against many elements: the theater community, who don’t take him seriously, the thought that the show will be a failure and he will not recover financially, his daughter, who is still screwed up from him being absent in her childhood, a new actor in the play, who is difficult and domineering (Norton as Mike), and his own self-doubt and inner demons. Riggan is one of the more complex and human of characters to emerge from this awards’ season. He is always angry, but flustered easily, crazed and yet eerily childlike in his expectations. Michael Keaton delivers a performance that has made many whisper of a comeback, but I sincerely have to say, he never left.

The camera doesn’t always follow Riggan’s exploits, as the film also shows the worlds of the supporting characters. Mike is modeled after Norton, who many have said is hard to work with. Iñárritu even had an incident in rehearsals when Norton tried to change the script, much like Mike does in this film. Just as stirring is Emma Stone as Riggan’s daughter, Sam. Struggling with her own issues, which stem from her father, she faces drug addiction and the uncertainty of being a twenty something without direction. Naomi Watts and Andrea Riseborough give subtle, nuanced performances as women who are often tossed aside and forgotten; only finding solace in each other’s company. Zach Galifanakis is very funny as Riggan’s agent, both frustrated by Riggan’s antics, and uncaring of Riggan’s well-being.

This film is about the experiences of the actor, the tenuous relationship between critic and entertainer, and the constant throes of human behavior in the face of art. This is a riveting film, one that glues your eyes to the screen in sheer terror that you will miss something. Whether you’re trying to find the cuts, or simply trying to make sense of this mélange of wacky and woeful, you won’t be able to ignore the exploits onscreen

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