All year long, movie fans and insiders have been talking about the newest Alejandro G. Iñárritu film, “Birdman,” which stars an eclectic assortment of big-name actors, foreign thespians and TV figures.
But it wasn’t until a few months ago that people started realizing what a major breakthrough the filmmaker was arranging. The breakthrough not only refers to a surprise resurgence in lead Michael Keaton, but also Iñárritu’s decision to shoot the majority of the film as if it were a long, single take.
“Birdman (or The Unexpected Virtue of Ignorance)” is definitely not a letdown after all the hype.
During a hectic opening weekend, has-been star Riggan Thompson (Keaton) is attempting a career turnaround by starring in a Broadway play after decades of being recognized as the face of a superhero franchise called “Birdman.”
His daughter Sam (Emma Stone) resents him, yet chooses to be his assistant as she recovers from rehab. He’s torn between his bisexual, possibly pregnant, girlfriend and co-star Laura (Andrea Riseborough) and his stoic ex-wife Sylvia (Amy Ryan). And as if the production of his play wasn’t already cursed to begin with, new understudy Mike Shiner (Edward Norton) and theater critic Tabitha Dickinson (Lindsay Duncan) won’t get off his back.
Much of the praise of the acting in this impressive ensemble – which also features Zach Galifianakis, Naomi Watts and Merritt Wever – has been focused on Keaton and Stone. Keaton is clearly playing a character loosely based on his own days as another winged hero, Batman. Stone, appearing in her first Oscar-friendly feature since “The Help” (2011), brings her best dramatic effort to date. But the real scene stealers of “Birdman” turn out to be Norton and Duncan in supporting roles that are unexpectedly memorable.
The name “Birdman” might bring to mind a new member of Marvel. But instead, we get an arthouse flick with big names and bold special effects.
Iñárritu, usually recognized for his nonlinear narratives, decides to stay linear here and focus his direction on the unusual one-shot trick and technique.
While the plot – developed by Armando Bo, Alexander Dinelaris, Nicolás Giacobone and Iñárritu – isn’t the most original, the acting and direction do more than make up for it.
“Birdman” is filled with many references to superhero movies, as the filmmaker reminds us of how oversaturated the subgenre has become in cinema. But Riggan/Birdman isn’t here to save the world, he’s here to save his own sanity.
Megan Bianco, Special to the Herald
