WARNING: SPOILERS AHEAD
Birdman or (The Unexpected Virtue of Ignorance) is the most intriguing film I've seen all year. Whether or not it's the best, well, it would be too premature to judge, but for the first time in a long while I left the theater knocked out, and with something on my mind to actually think about. Michael Keaton plays Riggan Thomson, an aging screen actor best known for playing the iconic 90’s superhero "Birdman". In an attempt to reinvent himself and restart his acting career, he stages a play called "What We Talk About When We Talk About Love"- something he adapted, directs and stars in. Unfortunately, the whole plan is going to hell. There's a powerful critic dead-set on ending its run, his actors are wildly out of control, there's no money, and Riggan is beginning to hear the Christian-Bale-esque grumble of his old Birdman character. Like Riggan, the whole film has a loose grip on reality, and as it progresses, it becomes harder and harder to tell what's real and what's imagined.
Before I begin, let me just say that this film, like many, both demands and deserves multiple viewings and by no means am I asserting the claim that I understood it in one go.
Of course, it would seem unfair to start with anything other than Michael Keaton. Riggan's whole character is so highly reminiscent of Keaton- an aging actor best know for playing a 90's era superhero, but turned down the most recent installment of the franchise- that it's impossible to imagine anyone else in the role. And just like Riggan, Keaton is amazing in his comeback performance. He knows how to mix black comedy with very real distress, and the more unhinged he becomes, the more fascinating he is to watch. But while Michael Keaton is the standout of the film, really the entire cast does an incredible job. Edward Norton (a likely Oscar nominee) is back to his old self in a hilariously antagonizing role as Mike Shiner, a big name actor who is brilliant onstage, but a basket case off of it. All of the women: Andrea Riseborough, Naomi Watts (in a role very similar to Mulholland Drive), Emma Stone, and Amy Ryan are equally disturbed, bringing powerful performance that each showcase different aspirations for acceptance and love. Zach Galifianakis is surprisingly grounded as Riggan's manager, Jake, the only person involved with the play who is trying to keep it all together, not tear it apart.
Birdman is amazing on a technical and human level. Whether or not Riggan actually possesses supernatural powers is up for debate, but there is one indisputable superhero in this film: director of photography Emmanuel Lubezki. If that name sounds familiar, it's because for the past few years, Lubezki has been dominating his field with films like Tree of Life and To the Wonder, winning his first Academy Award last year over beloved veteran Roger Deakins. But as soon as Birdman begins, it's clear that Lubezki has his sights set on consecutive Oscar wins. The idea of shooting a whole movie in what appears to be a single, continuous take is audacious, but Lubezki has the chops to pull it off.
There have been three popular theories circulating about the ending of the play, and though it doesn't really matter which is right- magical realism is often intentionally ambiguous- all three are interesting and worst some discussion. All three theories are centered around one fact: Riggan killed himself. Where they differ is on the 'when' factor. In reverse chronological order, the first believes that Riggan jumped to his death outside of the hospital window. When Sam looks out and sees his body on the ground below, she experiences a break with reality akin to her father's, thus triggering the look on her face that becomes the final shot of the movie. Just like her dad, she's seeing things that aren't really there. The reason I don't think this theory has much value is because, in a movie that does everything deliberately and with great meaning, this ending means very little. The ending at face value is fantastical, but why would Riggan kill himself after finally achieving the things he'd wanted, gaining adoration from fans and critics, and reconciling with his daughter? Why would Sam need to be driven mad? If there are answers to those questions I wold be glad to hear them, but for now I'm not keen on that theory. The second theory postulates that Riggan died onstage after a successful shot to the head. This argument makes more sense to me, the stellar review from Tabitha Dickinson seems a little too good to be true, and the candlelight vigils, flowers from Sam (good-smelling ones like he asked for in the beginning), and reconciliation with his ex-wife are certainly things Riggan wanted, but may have been beyond his grasp. Again, there are some things holding me back from accepting this theory. First, like the other theory, the timing still seems off to me. Awkwardly placed. Then there's the irony in it being a failed suicide attempt. In Carver's play, Lesley's character describes an ex-boyfriend who tried to commit suicide by shooting himself in the mouth, but missed and survived. If Riggan is successful in his attempt, that scene, which is repeated many times throughout the film, is rendered near meaningless, pure filler while other plot points move ahead. And Alejandro González Iñárritu is not a man who works with filler. Finally, the theory that I am most accepting of: Riggan died when he tried to drown himself in the ocean and was stung by jellyfish. At the beginning of the movie, before the continuous take even begins, there is a half-second flash of a beach with dead jellyfish laying on the sand. This shot is explained when Riggan confesses to his ex-wife Sylvia that after their explosive anniversary party, he tried to drown himself in the ocean but ended up being stung by hordes of jellyfish. Alternatively, I think this shot hints that Riggan did kill himself that, and that everything from then on has been his dream/dying hallucination as he attempts to fix the things he feels he did wrong in life. When he has finally sorted out all the pain, relationship issues, and personal failings that were motivation for his suicide, he dies, finally at peace. Some people have even theorized that Sam's facial expression at the end is a reaction to her father looking down on her in his last seconds on earth, but that party of the thesis seems a little fuzzy to me.
Unfortunately, all of this has been "labeling". I am no great artist or critic and truly have nothing great to add to the discussion of this great movie. And though I am ashamed of that fact, I can still strongly encourage you to take advantage of any opportunity to see this movie. It's truly brilliant.
Birdman or (The Unexpected Virtue of Ignorance) is the most intriguing film I've seen all year. Whether or not it's the best, well, it would be too premature to judge, but for the first time in a long while I left the theater knocked out, and with something on my mind to actually think about. Michael Keaton plays Riggan Thomson, an aging screen actor best known for playing the iconic 90’s superhero "Birdman". In an attempt to reinvent himself and restart his acting career, he stages a play called "What We Talk About When We Talk About Love"- something he adapted, directs and stars in. Unfortunately, the whole plan is going to hell. There's a powerful critic dead-set on ending its run, his actors are wildly out of control, there's no money, and Riggan is beginning to hear the Christian-Bale-esque grumble of his old Birdman character. Like Riggan, the whole film has a loose grip on reality, and as it progresses, it becomes harder and harder to tell what's real and what's imagined.
Before I begin, let me just say that this film, like many, both demands and deserves multiple viewings and by no means am I asserting the claim that I understood it in one go.
Of course, it would seem unfair to start with anything other than Michael Keaton. Riggan's whole character is so highly reminiscent of Keaton- an aging actor best know for playing a 90's era superhero, but turned down the most recent installment of the franchise- that it's impossible to imagine anyone else in the role. And just like Riggan, Keaton is amazing in his comeback performance. He knows how to mix black comedy with very real distress, and the more unhinged he becomes, the more fascinating he is to watch. But while Michael Keaton is the standout of the film, really the entire cast does an incredible job. Edward Norton (a likely Oscar nominee) is back to his old self in a hilariously antagonizing role as Mike Shiner, a big name actor who is brilliant onstage, but a basket case off of it. All of the women: Andrea Riseborough, Naomi Watts (in a role very similar to Mulholland Drive), Emma Stone, and Amy Ryan are equally disturbed, bringing powerful performance that each showcase different aspirations for acceptance and love. Zach Galifianakis is surprisingly grounded as Riggan's manager, Jake, the only person involved with the play who is trying to keep it all together, not tear it apart.
Birdman is amazing on a technical and human level. Whether or not Riggan actually possesses supernatural powers is up for debate, but there is one indisputable superhero in this film: director of photography Emmanuel Lubezki. If that name sounds familiar, it's because for the past few years, Lubezki has been dominating his field with films like Tree of Life and To the Wonder, winning his first Academy Award last year over beloved veteran Roger Deakins. But as soon as Birdman begins, it's clear that Lubezki has his sights set on consecutive Oscar wins. The idea of shooting a whole movie in what appears to be a single, continuous take is audacious, but Lubezki has the chops to pull it off.
There have been three popular theories circulating about the ending of the play, and though it doesn't really matter which is right- magical realism is often intentionally ambiguous- all three are interesting and worst some discussion. All three theories are centered around one fact: Riggan killed himself. Where they differ is on the 'when' factor. In reverse chronological order, the first believes that Riggan jumped to his death outside of the hospital window. When Sam looks out and sees his body on the ground below, she experiences a break with reality akin to her father's, thus triggering the look on her face that becomes the final shot of the movie. Just like her dad, she's seeing things that aren't really there. The reason I don't think this theory has much value is because, in a movie that does everything deliberately and with great meaning, this ending means very little. The ending at face value is fantastical, but why would Riggan kill himself after finally achieving the things he'd wanted, gaining adoration from fans and critics, and reconciling with his daughter? Why would Sam need to be driven mad? If there are answers to those questions I wold be glad to hear them, but for now I'm not keen on that theory. The second theory postulates that Riggan died onstage after a successful shot to the head. This argument makes more sense to me, the stellar review from Tabitha Dickinson seems a little too good to be true, and the candlelight vigils, flowers from Sam (good-smelling ones like he asked for in the beginning), and reconciliation with his ex-wife are certainly things Riggan wanted, but may have been beyond his grasp. Again, there are some things holding me back from accepting this theory. First, like the other theory, the timing still seems off to me. Awkwardly placed. Then there's the irony in it being a failed suicide attempt. In Carver's play, Lesley's character describes an ex-boyfriend who tried to commit suicide by shooting himself in the mouth, but missed and survived. If Riggan is successful in his attempt, that scene, which is repeated many times throughout the film, is rendered near meaningless, pure filler while other plot points move ahead. And Alejandro González Iñárritu is not a man who works with filler. Finally, the theory that I am most accepting of: Riggan died when he tried to drown himself in the ocean and was stung by jellyfish. At the beginning of the movie, before the continuous take even begins, there is a half-second flash of a beach with dead jellyfish laying on the sand. This shot is explained when Riggan confesses to his ex-wife Sylvia that after their explosive anniversary party, he tried to drown himself in the ocean but ended up being stung by hordes of jellyfish. Alternatively, I think this shot hints that Riggan did kill himself that, and that everything from then on has been his dream/dying hallucination as he attempts to fix the things he feels he did wrong in life. When he has finally sorted out all the pain, relationship issues, and personal failings that were motivation for his suicide, he dies, finally at peace. Some people have even theorized that Sam's facial expression at the end is a reaction to her father looking down on her in his last seconds on earth, but that party of the thesis seems a little fuzzy to me.
Unfortunately, all of this has been "labeling". I am no great artist or critic and truly have nothing great to add to the discussion of this great movie. And though I am ashamed of that fact, I can still strongly encourage you to take advantage of any opportunity to see this movie. It's truly brilliant.