Life Through the Lens: Still perfect after all these years
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"A thing is a thing, not what is said of that thing."
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Riggan Thompson (Michael Keaton) is a struggling-to-be-relevant actor who, like a lot of us, peaked in the 90's. The glory days have faded from the memory of most, but Riggan is holding on for dear life. At all costs, he is dead-set on regaining some sense of his former fame.
He has a desperate daughter (Emma Stone), but thinks about her seldom. He has a still-devoted ex-wife (Amy Ryan), but thinks about her seldom. He has no friends but his agent (Zach Galifianakis), who seems only interested in his client's "star power." He has become delusional in his quest for re-fame, and he now speaks to and listens to his superhero alter ego from his popular movies of the '90s, Birdman.
The consistent and insistent voice in his head assures Riggan that he is more than and better than. Greatness is merely dormant, not disappeared.
Riggan's pursuit of the past has led him to a daring undertaking: to write, direct and star in a Broadway play. How hard could it be? He places all his hopes and dreams and money and reputation into something he knows nothing about. If this falls through, Riggan's career is done. Birdman, help me now!
***
My connection with the movie was said best in a tiny piece of paper Riggan had in his dressing room mirror: "A thing is a thing, not what is said of that thing." Although he had this in plain sight and probably looked at it multiple times a day, he didn't believe it. He has spent his whole life living through others' eyes. When he was famous, he got his worth from others. When he was washed-up, he got his worth from others. Now, in an attempt to be re-relevant, he is preparing to get his worth from others again! Can't he see the flaw in that? I think he does…but who doesn't do this? We see ourselves as others perceive us. Sadly, even when Riggan WAS famous, he was never happy. Why? Because you can't please everyone. If your vision of yourself is riding on others, you will always be lacking.
What is heartbreaking to me - what makes me cry every time I view the film, which is multiple times every year in my film studies class at PHS - is what I can see from the outside. I can see his flaws and his potential. I can see Riggan's struggling daughter that works for him; I can see her all but screaming for his attention; I can see her substance abuse problems and their connections to him and his neglect; I can see the opportunity he has to be close to her right now! I can see his ex-wife and her love for him; I can see her acceptance of his shortcomings and her desire to connect; I can see his obvious love for her and his remorse. I can see his faulty perception of himself - how he isn't a nobody - how he is a man of talent and passion - how he is man with integrity - how his life begs for validation from everyone but himself. The problem is this: It is much easier to diagnose someone else than to see yourself. All of the sudden, all that "seeing" gets a little muddy.
I challenge you to not see yourself through "popular opinion." You are much more than that. It may not be as obvious as a struggling actor being bashed by social media, but we all long to please - we all seek validation - we all want importance - we all yearn to be remembered - we all desire to leave a legacy - we all look to "make a difference" - we all live through others' eyes.
The movie, every moment and inflection, cautions me to stop this destructive and ultimately deadly vacuum of emptiness. I cannot find worth in and through others; true worth is understood and embraced from within.
***
I vividly remember the opening moments of "Birdman" circa 2014. In my theater seat, I was transformed. I vividly remember the closing moments, as well - I was renewed! Still, to this day 20 years later, I am equally transformed and renewed by this cinematic masterpiece.
Director Alejandro Iñárritu is among the most talented filmmakers of all-time. His feat of "Birdman" and "The Revenant" in back-to-back years is a feat I cannot begin to comprehend. In "Birdman," he shows his endless imagination as well as his unmatched technical prowess. In a near-seamless single take, he guides us through mountains of meaning and a plethora of power. I cannot imagine another director accomplishing this daunting and demanding task. Iñárritu is a real-life miracle-man, a movie magician!
Iñárritu's talents are too numerous to name...but I'll give you a few. He thinks of everything, never missing an opportunity or an opening. Instead of simply hitting the marks and moments, he has this indescribable ability to disappear into them; the best word I can think of is miraculous. With a camera, Iñárritu performs miracles. He is sharply in control; he is conscious of characterization; he is surprisingly funny and poignant; he is unburdened by "the typical" or perceived limits. I could say more, but you get my point!
The script by Iñárritu (and Giacobone, Dinelaris and Bo) is superbly satirical, exceedingly entertaining and alteringly affecting. Using the short story by Raymond Carver is brilliant, both fresh and grounded. The music by Antonio Sanchez is inspired; who would have thought that a soundtrack composed entirely of jazz drums could be so compelling and emotive? The editing by Douglas Crise and Stephen Mirrione is subtle yet sublime. The casting by Francine Maisler is impeccable; each character and actor is matched to perfection. The production design by Kevin Thompson is a maze of texture and purpose; using the actual St. James Theatre is a stroke of genius. The art design of Stephen H. Carter is lived in and labored-over.
The cinematography by Emmanuel Lubezki is breathtaking - it is so breathtaking that it should come with a surgeon general's warning. Lubezki has crafted a style entirely unique to himself, setting him apart as film's greatest cinematographer. Yeah ... you heard me! "Birdman," "The Revenant," "Gravity," "The Tree of Life," "Children of Men" - I mean, come on!
I haven't even gotten into the acting yet! In "Birdman," Keaton delivers my favorite on-screen performance. His Riggan Thompson is the most complex, intricate, believable, empathetic character in movie history. The REAL Riggan is delicately hidden underneath SO MANY LAYERS, each constructed by Keaton to be slowly discarded. In the end...wow! Stone is fantastically effective as Sam. Galifianakis is lovably laughable as Jake. Naomi Watts is intensely authentic as co-star Lesley. Andrea Riseborough is painfully bleak as co-star Laura. Edward Norton is exceedingly excellent as the difficult co-star Mike; it seems to be a role he was born to play! Ryan is startlingly soft and sweet as Sylvia. I can't think of a better ensemble performance!
From the top to the bottom, from the back to the front, from the unsung to the widely lauded, "Birdman" sits atop a perch often dreamed of but rarely reached: flawless.
REPORT CARD: Birdman
Grade: A+
Assessment: As perfect as can be!