Birdman oder (Die unverhoffte Macht der Ahnungslosigkeit)

I'll start by saying this movie is worth seeing at least once, at least to see what it is doing. It is shot much like Hitchcock's *Rope*, though not exactly. It isn't all one shot, but there are many shots that flow from scene to scene. The catch? Those scenes are not always chronologically continuous. This is a fact you very well might miss if you are distracted or have something inhibiting you (the theatre I watched it in first however many years ago had abysmal audio, so this was me the first time).

This may sound disorienting, but if you change the way you are viewing the movie, I think it will help. Don't look at it as a standard movie: instead, view it as a stage play whose stage is an entire neighborhood, mostly one building, and which was mostly captured as it was being performed by a cameraman. This means that the actors moving in and out of scene have the same flow that a stage play has, and this also explains the presence of the drummer that you randomly see in the background performing the soundtrack to the movie. (Yes, the soundtrack is mostly a drummer; it works really well somehow.)

There's only one tiny wrench in this, the movie has all sorts of elements that are generally assumed to be hallucinations or imaginings of the main character (Keaton). In different scenes where he is alone, we see him using various telekinetic powers. Occasionally, we actually see his younger self as Birdman (an action-movie role from his younger days) in person, although usually he just antagonizes him via voice over. Some of the few hard cuts in the movie that do not follow an actor from one room to another are used to establish that the telekinesis in the previous scene is probably just Keaton throwing stuff around the room in anger.

How to reconcile this is... well, difficult. It certainly plays with the tension between stage plays and movies. In neither is everything you see always taken literally, but in stage plays it is much more figurative (hence the bending of time and space from scene to scene). But on stage, you usually can't perform the kinds of special effects (characteristic of movies) that we are being asked not to take literally. (I'm trying to stay spoiler free, so I'll not say what I'm thinking right now.)

This is where we should look at the themes of the movie, because these formal elements in conflict that I mentioned mirror the thematic conflict between cinema and theatre. Long story short, the premise of the mov... (movie? . . . stageplay? . . . ) ...of the story is that Keaton is a has-been actor, known (very well known) for superhero movies he did ten or twenty years ago, all based around a character named Bat*coughs* I mean, Birdman.

Sound familiar? Okay, good. Well the inciting incident in the story is that he is trying to reclaim his career as an actor in general, and with it his artistic street-cred, so to speak, by writing (adapting), directing, and starring in a play. It is based on a novel by someone who encouraged him to be an actor when he was a child. Therefore, this isn't a move of cold calculation, trying to get famous again after years of not being as successful as he was as Birdman and therefore being artistically inauthentic, although he is certainly accused of this. But it is instead a very real attempt to reconnect with his younger, artistic self, before Birdman, which he sees as the inauthentic detour of his career and as not what he wants to be remembered for.

The conflict is, he seems to be finding that the film world doesn't translate to the stage world. He seems to be hitting the problem that there may not be such a thing as an "actor-in-general" but only two separate things called "stage-actor" and "screen-actor." On multiple occasions, this film criticizes the spectacles that saturate Hollywood and the celebrity culture it grows in the Petri dish of its award shows. Edward Norton plays his foil, someone else who finds himself on stage more than he does in his natural life, yet a stage insider, rather than a film one.

The film isn't all anti film culture, however. In many ways, film has its last laugh when we see that the kinds of things that make the theatre-world fall in love with you and fawn over your talent are superficial as well.

The formal conflict inherent in how the film is delivered therefore mirrors the thematic content that is being delivered, which is almost always the optimum result.

In other words, I have a lot of respect for this movie. I rate it 9 stars because that is how I say I think everyone should give it a fair chance.

A washed-up ex-superhero actor is trying to make a mark on Broadway. Unfortunately, his new found want to make 'something serious', as opposed to superhero films, is challenged by the inability to shake his old persona.

It's a film about Hollywood and its many personalities - the drug-addicted, the mentally unwell, the sexual abusers, the egotistical, the scathing critics, the stars and the has-beens. It's not a topic I particularly care for and I didn't enjoy Tarantino's 'Once Upon a Time in Hollywood' or Alma Har'el/Shia Lebeouf's 'Honey Boy'.

Birdman, however, hypnotised me. You're greeted by snaking, daydream-like single shots that seem stretch forever, one scene flowing effortlessly into another through a combination of clever camera work, editing, and special effects. In short, it's a cinematographic dream. The high-conflict scenes, action, script, and larger than life characters glue your eyes to the screen in this rollercoaster that's effortless to watch. For a film about Hollywood, you'd expect good acting, and it certainly didn't disappoint, whether from Michael Keaton, Edward Norton, or the rest of the talented cast.

Birdman thrusts you into supernaturalism briefly, before thrusting you back to reality. It leaves it up to you how to interpret some key events and this creates division within the audience.

I understand why some dislike the film. I didn't find it meaningful, deep, or clear to what its message was. However, its punchy style was refreshingly new, worked perfectly, and is reason alone for cinephiles to delve into this engaging whirlwind of a film.

With all due respect to Eastwood's American Sniper, the academy actually got it right with this pick for best picture. Every actor and actress in this given the space to breathe life into characters, every monologue and dialogue hits like a ton of bricks, every scene tries to get towards some fundamental truth of human nature only to have the next scene undermine that character and that purported truth. It's amazing that in the era of comic book universe movies that something like this can get made at all. An absolute must see before you die movie.

BIRDMAN just keeps coming at you, time and again, from every imaginable angle, until the end credits, about an hour and 50 minutes in. Is it just me ....or are many reviewers reluctant to state the obvious? Michael Keaton as a down on his luck Ex-Superhero, desperately trying to prove his relevance in 2015, to the entire world, to his rather distant family, but, probably most of all, to himself. Oh yeah, and he talks to himself in a rather smooth, but hoarse and gravelly BATMAN...I mean BIRDMAN, Superhero voice, his last on screen portrayal of which was in 1992! (Yes, in BOTH of them)

So, just where do we draw the line as to what is fact and what is fiction? That is one of many recurring themes dealt with in BIRDMAN. I think it is the central one in the film.... Just where and when do we draw those critical dividing lines? Riggan Thompson is feeling the rapidly escalating pressure of a quickly approaching Broadway opening. It is a dilemma of his own device. His life is in shambles. He finds himself still pining for his ex, while attempting, rather ineptly and intermittently, to bond with his daughter. He has taken on overpowering debt to finance his Broadway play that, if successful, will provide him with the self-vindication he needs to put his life and career back on track. His problems seem insurmountable, or at least, he has convinced himself that they are!

The ensemble cast performance is deliciously superb. Zach Galifianakis as the steadfastly single-minded lawyer/best friend, who has to employ his myriad of abilities to hold the production together and keep it moving forward. Emma Stone, as Sam, the more often than not neglected as a child daughter, just out of Rehab, who seems to be on the road to stability in her life by serving as the reluctant gofer for her neophyte Broadway director/producer father. Naomi Watts, as Lesley, one of the play's stars, perhaps the star struck little girl trapped in the 30 something body of a struggling actor who is on the verge of her lifelong Broadway wish- fulfillment debut!

Edward Norton delivers an Oscar-caliber performance as the obsessed Method actor who's only real moments are the ones he spends on stage. And of course, Michael Keaton, in the title role, projecting a gigantic on screen presence as a man possessed, obsessed, intensely flawed, human and, ultimately, somewhat skewed by his own inner demons! Makes you wonder... Exactly where does Michael Keaton end and Riggan Thompson begin?

I would be derelict in my reviewer duties were I not to mention the effective and original use of the continuous, one-take technique employed in making BIRDMAN...It lends an extreme presence, intensity and intimacy to the overall quality and tone of the film which is quite unique. I'm sure the implementation of this style presented director Alejandro González Iñárritu with a formidable series of challenges, which he dealt with flawlessly. Gonzalez has directed some previously highly recognized films, such as Amorres Perros, 21 Grams, Babel and Biutiful. This highly thought provoking film guarantees that we will be seeing more of his work in the future.

10**********....... ENJOY! / DISFRUTELA!

I'm not exaggerating when I rate this movie a 10/10. From the first minute it's intriguing, you want to keep watching, not just for the impeccable performances, but for the incredible montage of scenes and the quality of the script. And best of all, as time goes on, the movie gets better in every way. Without a doubt, it is one of the best films in the history of cinema.