So, if The Hawk were to put together a list of the best films about show business ever made, it would surely include the likes of SUNSET BOULEVARD (1950), ALL ABOUT EVE (1950), THE PRODUCERS (1967), DAY FOR NIGHT (1973), THE PLAYER (1992) and THE ARTIST (2011). I havent thought enough about such a list enough yet to actually rank the titles in the appropriate order of merit, but, I DO know that BIRDMAN would now be added to such a list. It may not be the best of the bunch, but BIRDMAN could easily be the most unique and creative film about show business ever made. BIRDMAN, OR (THE UNEXPECTED VIRTUE OF IGNORANCE), which is the film’s FULL title, is the story of “Riggan Thomas” (Michael Keaton), a has-been, superhero-franchise mega-star who after turning down a fourth installment of playing the character of The Birdman on the big screen, attempts a come-back twenty years later as the director and lead actor of an adapted Broadway play. Besides his own ego getting in his way of a successful opening night, three days prior to the premiere, Riggan fires a co-lead character and scrambles for the right replacement, assigning his producer (Zach Galifianakis) with the daunting task of finding an available A-list actor to fill the void. With just two preview performances to go, an ego-maniacal but highly respected method actor (Edward Norton) fills the spot but not without adding significant tension to the production and complicating things much further by hitting on Riggan’s 24 yr-old daughter (Emma Stone) along the way. Spanish filmmaker, Alejandro González Iñárritu, who earned best director and best picture nominations (as producer) for BABEL (2006) a few years back, who is also good buds with last year’s Oscar winner for Best Director, Alfonso Cuarón ,(GRAVITY), will undoubtedly be considered a front-runner for his masterfully creative helming of this uniquely designed film. Surprising and quirky from beginning to end, BIRDMAN proves to be one of the most unpredictable movies I’ve ever seen. As I was watching BIRDMAN, I was quickly enamored not only by stellar acting (by absolutely everyone), the sardonic and biting original screenplay, and the beyond clever direction, but I quickly became enthralled with the film’s cinematography which appears as seamless and fluid as in last year’s Oscar winner for camera-work, GRAVITY. Imagine how inflated my head got when the end credits rolled and I discovered that Oscar-winning cinematographer, Emmanuel Lubezski (of GRAVITY fame) was the man once again behind the magic of the cinematics in BIRDMAN as well! Shot almost entirely inside Broadways St. James Theatre - the entire cast and crew had to adapt to Iñárritu’s grueling direction for Lubezski to shoot the entire movie in such a way that it seems that there is never a break in the flow. With only a couple of intentional exceptions, there are no noticeable cuts what-so-ever in nearly the entire film. No wide shots that cut to medium shots, or over-the-shoulders, or close-ups, or tracking shots, etcetera. Just one seemingly fluid moving camera that wanders throughout the interior and exterior of theatre like a character all its own, which in a metaphysical way, it actually is in this particular case. This cinematic stunt has been done before (on a far lesser scale) by the “Master of Suspense”, Alfred Hitchcock in ROPE (1948). However, the comparison stops there. ROPE takes place entirely in one small apartment, and there are noticeable breaks on occasion where traditional film editing cuts jump in. However, the use of camera and the tremendously well hidden editing transitions magically utilized in BIRDMAN required both cast and crew to perform up to 15 pages of dialogue at a time while hitting precisely choreographed marks for camera movement and coverage throughout the entire backstage labyrinth of hallways, staircases, exits, dressing rooms, house, front of house, essentially every possible nook and cranny of the well-known theater as well as the surrounding alley ways and sidewalks around it. If ANYONE in either the cast or crew made a mistake during these 15-20 minutes takes, it required an immediate “do-over” and NO ONE wants to be the ‘fall guy” for a goof like that. One boom microphone shadow, one flubbed line, one missed entrance by an extra, etc., and it’s “Back to one!” (movie-talk terminology for “reset the shot and lets do it again) for everyone on the set. Technique and craftsmanship aside, for those of you who really just want to know if the acting is any good and is the movie worth seeing, let me make it simple. BIRDMAN is owned by Keaton, and although Oscar night is still months away, The Hawk can safely predict a Best Actor nomination is in store for him, if not the eventual win. Frankly, although there are still at least ten more “must see” films featuring deserving actors who will be in the hunt as well, its hard to imagine anyone being more committed to their role than Keaton is to “Riggan Thomas” in BIRDMAN. Although the actor has publically denied much similarity between the role of Riggan Thomas and himself, under Iñárritu’s superb direction, we as viewers frequently are manipulated into wondering where exactly the line between reality and fantasy is in Keaton’s performance. Look for potential additional Oscar nominations for supporting performances by Edward Norton and Emma Stone, as well. And even though her role as another psychotic actor in the play-within-the-movie’s cast, Naomi Watts is brilliant, but it’s Stone that has the meatier part as Riggans daughter, which will more likely grab one of the five slots in the crowded race this year for Best Supporting Actress. BIRDMAN is a must-see movie for all actors (stage and screen), as well as for their family members, and anyone who has ever known an actor on a personal level. I would go so far as to say that no film has ever captured the angst, the self-loathing, the insecurities, and the egomaniacal self-righteousness that many actors are notorious for displaying than are brought to life here in BIRDMAN. And for those of you that are just looking for something completely different, rest assured, BIRDMAN fills that bill as well, and is the one to see this fall. Grade = A+.
Posted on: Fri, 31 Oct 2014 01:08:19 +0000
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