From method to madness

Film review: Birdman

MANILA, Philippines - A dark comedy about acting and redemption, Alejandro Gonzalez Inarritu’s Birdman, a Fox Searchlight production, is one hell of a ride. Outrageous, provocative and visceral, yet also poetic, sublime and delicate, the film is an intelligent rollercoaster ride that fuses stark reality with magical realism and fantasy. Multi-layered, it provides a sumptuous feast, rich food for thought and at one level, it can be enjoyed for the sheer acting fireworks that are put on display. Technically, it’s also a marvel as it is shot to look like one continuous montage — tricky and yes, with an element of showing off, but it never detracts from the storytelling that remains primary to the method.

The film’s plot is dead simple: Riggan (Michael Keaton) is a washed-up Hollywood actor who once enjoyed fame playing the superhero Birdman and now seeks redemption by producing, directing and adapting a Raymond Carver short story on Broadway. His daughter (Emma Stone) is employed as a production assistant and has just come out of rehab. When a suspicious accident causes one of the lead actors to withdraw, volatile Method actor Mike (Edward Norton) is brought in as the replacement. The elements of magical realism and fantasy come in via the powers of levitation and telekinesis that Riggan secretly has in his possession. From this straightforward premise, the Gates of Madness and Hell are pried open, as the play moves towards its opening night.

It’s what happens along the way, in conjunction with the more than clever screenplay, that makes this film such a riveting experience. Theater acting versus movie acting, social media versus mainstream media, the role of critics, the obsession with celebrity and stardom, the life on the stage versus “real” life, the struggle running away from what made you what you are, and the sobering realization of how elusive and fleeting fame can be — these are just some of the themes that are touched on by the brilliant script. And did I mention acting? The standouts here are Keaton, Norton and Stone. And let’s not forget the irony of how Keaton did once play Batman and turned his back on donning the costume. With Norton being so damn choosy as of late, it is wonderful to be reminded of just how consummate an actor he is when given a meaty role. And Stone is given her moments.

With the comedy pitch black and the drama quotient so high, I can’t see this film enjoying that much success during its commercial run. And that would be such a shame, as given the chance, this is one film that truly deserves an audience — a film that rightfully deserves all the critical acclaim and acting nominations it has been earning. It’s a true-blue American film, yet grounded with European sensitivity. As an acting vehicle, it could qualify as a Formula One race car. Birdman soars in more ways than one.