SPOILER ALERT! The plot of
the movie will be discussed.
There are a lot of feathers
flying in this Best Picture Oscar winner (sorry, I couldn’t help myself). The 2014
Alejandro G. Iñάrritu movie takes on a number of themes: commercialism versus
artistic achievement; the role of critics; the lives of actors; illusion versus
reality in film and theater.
Let’s start out with the
title of the motion picture (we’ll get to the parenthetical subtitle later).
It’s sounds similar to the superheroes in other movies. The main character here
is Riggan Thomson (Michael Keaton). He used to be the star of the Birdman
films, but walked away after three outings. Movies that feature Batman,
Superman, Iron Man, Spiderman, etc., have a dichotomy in their names. They are
part “man” (or in the case of Wonder Woman, part female), and part something
that makes them special, something that allows them to overcome the limitations
of others. For audiences, they provide a vicarious escape from everyday living
and the possibility of vicariously becoming something greater than themselves.
Major Hollywood studios have cultivated this desire for escapism into the only
enterprise they are willing to bankroll, at the exclusion of films that explore
the actual plight of everyday people. Iñάrritu’s movie makes several references
to this “selling out” to solely produce diversion.
Riggan is trying to break
away from his fantasy past to produce a serious play on Broadway, and is
looking for an actor to fill a role. But, he can’t get Woody Harrelson because
he is doing The Hunger Games, Michael
Fassbinder is committed to “the prequel to the X-Men prequel,” and Jeremy Renner, who was in the realistically
gritty The Hurt Locker, is now
working as an Avenger. At one point Riggan despairs of being forgotten for
giving up the superhero life to the point that if he was on a plane with George
Clooney, and it crashed, the press wouldn’t even mention his name. The
reference of course is that even Clooney played Batman once. But, the bigger
inside joke is that Keaton himself walked away from playing Batman, and the
actor in Birdman who plays Mike
Shiner, Edward Norton, was The Incredible Hulk. As Riggan says, it seems like
Hollywood has put everybody “in a cape.” As the voice of Birdman in Riggan’s
head reminds him, people love entertainment that is “Big, loud, fast!” As
Birdman, he was able to “save people from boring, miserable lives.” Birdman
says the audience members “love action. Not this talky, depressing, philosophical
bullshit,” that Riggan is presenting on stage.
So, Hollywood is a target
here, and the way it typecasts actors in the audience’s mind makes it difficult
for Riggan to do serious work. But, Iñάrritu also ridicules the elitism of the
New York theater community. Shiner is an extreme method actor who will do
anything on the stage if it promotes, for what is for him, a truthful
experience, even if it ignores artistic discipline or taste, such as drinking
real gin or engaging in actual sex during the performance. He dismisses fame
derived from commercial projects when he says, “Popularity is the slutty little
cousin of prestige.” His prejudice is that he believes that people become
famous only by compromising their artistic standards.
The beginning of the film
presents a quote from writer Raymond Carver. The words are on his tombstone,
and in them Carver asks himself what he wanted out of life. The response is “To
call myself beloved, to feel myself beloved on earth.” This line especially
pertains to actors, who usually admit to being insecure and entering show
business to compensate and gain validation. Riggan is adapting a story by
Carver entitled "What We Talk
About When We Talk About Love." As was stated
above, Riggan stresses over whether he will be forgotten after he has died,
that the fans’ devotion will have disappeared after taking off the superhero
costume. This falling from the show business heavens may be why the first image
of the film is one of a spacecraft plummeting from the sky toward the ground. His
own daughter, Sam (Emma Stone), diminishes him by saying that he is producing a
play that is out of date, just like him, and that his work, and even Riggan
himself, are “unimportant.” He wants to do a play about the human condition, represented
by the “man” part of Birdman, but the “bird” part feeds his ego, encouraging
the desire to soar above others. The superhero character aspect of himself says
to Riggan, “You are larger than life.” His alter ego tells him that he should
return to the movie franchise because he will gross a billion dollars. He says
Riggan isn’t bound by human restrictions, that “gravity doesn’t even apply” to
him. His Birdman persona tells Riggan he is not only a superhero, but should be
called “a god.” His ex-wife, Sylvia (Amy Ryan), tells him that he may be
working in a play about love, but he doesn’t understand the emotion because he
confuses “love for admiration.” Love is a complex feeling which means caring
for and accepting someone despite flaws. Admiration is less intimate, and may
only refer to one’s work. The actor in Riggan can’t seem to make the
distinction, and assumes that if others admire his work they will love him.
With this attitude, he will always find himself lacking satisfaction. But, he
is not the only one who expresses the actor’s propensity for insecurity. One of
the actresses in the play, Lesley (Naomi Watts), asks “Why don’t I have any
self-respect?” To which another actress, Laura (Andrea Riseborough) responds,
“You’re an actress, honey.”
This insecurity is mirrored toward
the end when Riggan says, “I’m nothing. I’m not even here.” In the play, Six Characters in Search of an Author,
the premise is that actors are indefinite, mutable entities, whereas the
characters they play are clearly defined, something to get a fix on, reliable.
Lesley tells her boyfriend, Shiner, that on stage, he is Mr. Truth, but in real
life, he is a fraud, nothing to bank on. He is able to have an actual erection
playing his character, but is impotent with her in their relationship. Thus, he
also suffers from a lack of self-confidence outside of the work process.
But, Shiner’s demanding
“truth” on stage brings up the main theme of the movie, which is artistic
illusion versus reality. Plays and movies deal with these two states by
presenting the illusion of reality. Artists present their vision on a sliding
scale between these two poles. Some paintings are almost photographic in the
depictions of their subjects, while others are impressionistic or abstract.
Plays cannot provide the verisimilitude of movies because of the confinements
of the theater environment. But, some are more grounded in their depiction of
the world than those that bring in elements of say, farce, and the breaking of
the “fourth wall.” The same can be said for movies. In any event, there is
always a pretending, a suspension of disbelief, which one may call “the unexpected
virtue of ignorance.” When we follow a story, we allow ourselves as the
audience to be ignorant of the fact that we are watching a fiction, and that
allows us to participate in that world of make believe. In Birdman, Iñάrritu offers us a contemplation of what happens when we
lose sight of the distinction between illusion and reality. The first shot of
Riggan is of him hovering in midair in his dressing room. He believes, at
times, that he can do this, because part of himself thinks he really is
Birdman. While alone, it appears that he can turn a TV on and off with his
fingers and make things fly through the air. But, when his lawyer and partner,
Jake (Zach Galifianakis), enters his dressing room, we see him using his hands
to hurl objects. He wants to deny that fantasy part of his mind, wants to
remove the movie poster of himself in the costume, and has sacrificed his
career to do a down-to-earth play about love. But, even the play is not “real,”
which is emphasized by the falling of a spotlight onto one of the actors,
emphasizing how different actual reality is compared to a dramatic
presentation.
Shiner is the toast of New
York City theatergoers because of his devotion to presenting “reality” on the
stage. He gets a tanning bed to emphasize the redneck quality of his character,
for example. He is not happy with the gun that Riggan uses for the final scene,
because it doesn’t look like a real one (a foreshadowing remark). He uses real
gin in the play, not caring about the intoxicating effects it will produce. He
tells Lesley that he wants to really have sex with her in the scene leading up
to the ending of the play, unconcerned about the inappropriateness of the
suggestion. Shiner takes the idea of method acting, which is supposed to be
based on using real life experiences, to the extreme of actually creating those
experiences on stage. In essence, he is undermining the craft of acting by
eliminating that part of it which recreates life in order to present an illusion
that resembles reality in order to comment on it.
Iñάrritu’s directing style
constantly reminds us that we are not watching reality. The apparently one-shot
technique of the film is an illusion, since the story moves from night into
day, and from periods of time offstage and onstage which could not occur if the
story was done in real time. The jarring percussionist soundtrack does not
blend into the background, reminding us of how a movie adds sounds that are not
found in everyday life. We even see the drummer in one scene, emphasizing the
artifice of what we are viewing and hearing. At one point, Riggan enters the
theater from the street and says to cut the music, drawing our attention to the
fact that we are watching a movie, not a presentation of actual events.
But, the film comments on our
current world that does not appreciate that gradation between extreme make-believe
and verisimilitude in art. Today’s audiences go from one extreme to the other,
preferring the total escapism of the superhero genre, or reality television
(which is not “reality’ since it creates contrived, extreme situations peopled
with non-actors). Since everyone records everything to be presented online, people
associate the viewing screen now with actual occurrences, and seem to prefer even
non-documentary films to be based on “true events” to be palatable. Fictitious stories
can, thus, lose validation as a way of revealing understanding into the human
condition.
Riggan finally combines the two
aspects sought by today’s audiences in his play when he uses a real gun at the
performance and shoots himself in his face, damaging his nose. (Earlier, when
he locks himself out of the theater, he starts the scene using his hand in the
form of a gun, which, if the audience is trusted to use its imagination, can be
accepted as a weapon). Afterwards, at the hospital, the bandage over his face
makes him look like he is wearing the headpiece to his Birdman outfit, thus
suggesting the joining of his superhero character with actual bloodshed. The
critic who threatened to kill his play, now praises Riggan’s performance,
declaring that he has created a new art form, dubbing it “superrealism,”
merging the superhero aspects and reality TV into one form of entertainment.
Earlier, he flies around the Broadway area, and we hear a passerby ask if this
is a movie. The mere question suggests the merging of reality and illusion to
the point where they are indistinguishable today.
The next film is Shadow of a Doubt.
I wanted to thank you for this very good read!! I certainly loved every little bit of it.
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