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Birdman
(2014)
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Director:
Alejandro G.
Iñárritu |
AKA
Birdman or (The Unexpected Virtue of Ignorance) |
COUNTRY
USA |
GENRE
Comedy/Fantasy |
NORWEGIAN TITLE
Birdman |
RUNNING
TIME
119 minutes |
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Producers:
Alejandro G. Iñárritu
John Lesher
Arnon Milchan
James W. Skotchdopole |
Screenwriters:
Alejandro G.
Iñárritu
Nicolás Giacobone
Alexander Dinelaris, Jr.
Armando Bo |
Review
Positioning himself on a meta-level just above the business and the times
he is commenting on, Alejandro Iñárritu gives us an askew look at
the flip side of show-business in general and movie-stardom in
particular. His look takes the format of black comedy, but is more
black than comedy, really, as we get to know one Riggan Thomson
(Michael Keaton), once one of Hollywood's biggest box-office stars
as the superhero Birdman, now down on his luck both domestically
(divorced) and professionally – having possibly bitten off more than
he can chew by trying to write, produce and star in his first ever
Broadway play. The echoes to real-life Keaton are almost painfully
obvious at first sight, but never feel true in a deeper sense. In
other words, we never feel that Keaton is risking much – something
his character deems as the number one virtue. That being said,
Keaton plunges himself into his first leading-role in six years with
full conviction, but he's quickly on his own against the elements:
Iñárritu's fancy camerawork and the shallowness of the script.
Now,
one could claim that this shallowness reflects the business and the
world around it, which may be a fair point. But if so, the satire,
which is valid and at times biting, should have made more of an
impact. The film wants to give the impression that it's offering a
reality-check for actors and audiences alike, but it's a flippant,
elementary reality-check which eludes every possibility to go into
depth. Instead we're often left with simple dichotomies such as
critical acclaim vs. fame, art vs. entertainment, age vs. youth. And
even though Iñárritu has some interesting observations, he has
already said everything he has to say when he's got half-an-hour
left of his film.
And
so we're left with the moving, continuous camerawork, which is
technically amazing and quite often artistically effective. What it
probably also does, however, is cripple the performances, all of
which feel stiffer and more mechanical than they should. There's
great talent at work here, but much like Riggan Thomson himself,
Birdman has a hard time convincing everyone that it's
fully-fledged.
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