Everything and nothing

Rating: 8/10 (25 February 2015)

Director Alejandro Gonzalez Inarritu seems to have cheered up a bit since his reach-for-the-noose-depressing trilogy of 21 Grams (2003), Babel (2006) and Biutiful (2010). The first two are excellent films (I haven't seen the third), telling honest and brutal human stories powerfully played by expert, distinguished actors, but show no signs of the kind of energy, wit and satire of his latest, Birdman, this year's Best Picture Oscar winner. We spend two hours inside the world of washed-up actor Riggan Thomson (Michael Keaton), who is having a later-than-midlife crisis trying to escape from his superstar days of being a costumed hero and trying to re-invent himself by writing, directing and starring in his own play.
For a film that spends so much time poking fun at the self-contained world of thespians and the empty yet highly-craved escapism of blockbuster cinema, Birdman manages to be, in it's own strange, unique way, a bit of both. When we first meet Riggan, he is meditating mid-air. He moves objects telekinetically, and his actions and decisions are criticised and mocked by his former alter- ego, Birdman himself. We are in and out of our protagonist's head, which is made even more delirious by the magnificent camera-work by Emmanuel Lubezki, one of the finest in the business. With the odd exception, for the most part Birdman appears edit-free. Day turns to night in the same shot and vice versa. But this is no mere gimmick.
We're on the cusp of the opening of What We Talk About When We Talk About Love, Riggan's stage adaptation of Raymond Carver's (very) short story. One of his actors is injured by a falling piece of equipment and is replaced last-minute by primadonna d**k-head Mike Shiner (Edward Norton) whose girlfriend Lesley (Naomi Watts) is already working on the play; his daughter Sam (Emma Stone) is fresh out of rehab and is resentful of her father's late-in-life attempts at reconnection; his female lead Laura (Andrea Riseborough) is pregnant and tells Riggan it's his; and pompous art critic Tabitha (Lindsay Duncan) is determined to destroy the play before it's even played. It's a stressful time for Riggan to say the least, and with the illusion of watching one continuous shot, we feel right there with him. With the near- constant jazz score, we also feel every beat.
But the technical aspects of the movie do not overshadow the story, and it is played out by a gifted ensemble. With the loose, free- spiritedness of it all, Keaton breaks free and shines, excelling at the moments of comedy (Riggan's semi-naked dash through Times Square is a highlight), and moving us in the more tender moments involving his sympathetic ex-wife Sylvia (Amy Ryan). He's also as precious as his fellow actors, disgruntled that Woody Harrelson, Michael Fassbender and Jeremy Renner are unavailable due to working on their highly successful franchises, resentful at he fact that he wore a cape before capes were cool. It could have been a disorientating experience, instead it's exhilarating. It could have also trodden ground covered before, but it's so on-the-nose that it feels fresh. And it may not be the best film of the year as Oscar may have you believe (my heart lies firmly with The Grand Budapest Hotel), but Birdman is everything and nothing, just like Riggan himself.
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