‘Birdman or (The Unexpected Virtue of Ignorance)’ a solid work of craftsmanship

Alejandro González Iñárritu’s Birdman: or (The Unexpected Virtue of Ignorance) tells the story of Riggan (Michael Keaton), a washed-up actor known for playing the superhero Birdman in a number of films, as he tries to stage a Broadway production of Raymond Carver’s What We Talk About When We Talk About Love, a last desperate plea for true artistic brilliance. He is forced to deal with a dwindling budget, his demanding agent (Zach Galifianakis), squabbling actors (Edward Norton, Naomi Watts and Andrea Riseborough), his ex-wife (Amy Ryan) and his recently-out-of-rehab daughter (Emma Stone), all while tackling the little voice in the back of his head that continually reminds him how much of a failure he has been throughout his life (which also just happens to be his Birdman alter ego).

The film creates the illusion that it was shot in one continuous take, various effects used to hide the cuts. By removing the cuts in the film, the viewer is forced to stay with the characters continuously, never having the luxury of an edit to escape the drama onscreen. At times, this becomes a bit of a show-off technique and distracts from the plot, some of the scene transitions a bit overdone, but the effect is nevertheless compelling and commendable for a movie of this type.

Michael Keaton steals the show for his portrayal of Riggan. His own self-doubt echoes in every frame of his performance. The rest of the cast is also very good, especially Edward Norton and Emma Stone, who portray their incredibly flawed characters with a strong degree of empathy.

The film is able to balance comedy and drama in a very compelling way, keeping both in check as Riggan breaks down over the course of the film. It is an incredibly raw vision of life, full of love and hate for the self, for others and for the world. Films that are able to balance both humor and tragedy carry a richness with them that creates an encompassing feeling for the viewer, and Birdman, with a few tonal discrepancies, handles this balance very well.

What is most interesting about Birdman however, is how many themes it manages to juggle without toppling over into incoherence. The film is about how self-love and self-loathing are equally present in ourselves, the inability of true works of art to overcome works of pedestrian violence and sex, how pressure and failure can drive you over the edge, how motivations can actually mean little in the grand scheme of things, how an age of instant media can create sensationalism for sensationalism’s sake, among a list of other things. Indeed, there are so many interpretations from just one viewing that multiple screenings are sure to elicit further theories. The film rustles inside the viewer’s head, and that is all an audience member can ask of a movie nowadays.

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