Despite what people might say or think, there isn’t really a fine line between narcissism and self-esteem. One is pathological and rooted in the comparison and elevation of oneself above others, while the other is a healthy appreciation of one’s virtues that allows a person a comfortable place among his fellow humans. Of course, the two can get confused, just as a person might confuse love with admiration – an accusation directed at our protagonist, an ageing superhero movie star (Michael Keaton) by his ex-wife in the truly wonderful film Birdman.
This is a postmodern, philosophical film with a lot going on, including a marvellous dig at the culture of theatre versus film and Hollywood itself, with central character Riggan Thomson following the utterly narcissistic ageing actor path of attempting to revitalise his ailing career by writing a Broadway theatre adaptation of a short story, but also directing and starring in the play himself. The thing is, Thomson was once a big deal, having shone in days gone by as Hollywood’s leading action hero in the legendary Birdman movies. But that’s all over now, and he’s ageing with wrinkled skin and a flabby tummy that he screams to himself in anguish that he’s “disappearing” behind. Yet Birdman still speaks to him when he’s alone, criticising his every move and yet insisting that he is still “special” and “powerful”, proving his “magical” qualities by telekinetically moving objects around the room.
Thomson’s play gets a fresh injection of talent when reputed stage action man Mike Shiner (Ed Norton) joins the cast. That all goes awry when Shiner’s ideas of stage “realism” include him throwing tantrums and getting boners in front of preview audiences. Along with fellow actors Lesley (Naomi Watts) and Laura (Andrea Riseborough), his post-rehab, cynical daughter Sam (Emma Stone) and ex-wife (Amy Ryan), Thomson now has to pull off his stage adaptation and reassert himself, largely by impressing high-culture newspaper critic Tabitha (Lindsay Duncan), whose opinions hold the key to Broadway shows either being adulated or obliterated.
Ah, Tabitha. Bloody marvellous character. She really shines as she nails in her assertions of high art over pop culture, theatre over film, and acting over celebrity. Her revulsion and disgust at exorbitant Hollywood entertainment over true art is no doubt echoed among intellectuals across the world. Thomson is simply no match for “the establishment”. Or is he? In the digital age where social media and consensus reality means that Tweeting a photo of yourself eating your Cornflakes can catapult you into super-stardom, this film surely chronicles the death of the critic.
Then there’s the score – a jazzy drum beat that never lets you forget you’re in absurdist New York. The musical backdrop sometimes pops up in strange places too – a groovy drummer dude here and there in the kitchen, a chorus-line of percussionists in Times Square – this film gives you impression that no detail has been spared, testimony to the immense talents of director Alejandro Gonzalez Inarritu (Amores Perros, 21 Grams, Babel).
No-one is spared derision in Birdman – the superhero itself is a spot-on reference to Keaton’s own Batman career, and the film even takes the piss out of itself, with Birdman jibing fantastically that everyone wants to watch action and explosions, not “depressing, philosophical shit”.
And we’re birds too – the filming techniques are possibly like nothing that’s ever been done before – swooping and flying around the character’s faces and invading their interactions. It’s also filmed like it’s been done in the one take – very much like a theatre play. We can thank cinematographer Emmanual Lubezki for that.
This is black comedy brilliance. Five stars.
Birdman is now showing at the State Cinema, Hobart.
Amber Wilson
