Alejandro G. Inarritu’s Birdman, is a good dark comedy that has emotional chords at its core, presented well by unpredictable stars. But there is great beauty in being able to present a tale you can identify with, and the protagonist of the film, Michael Keaton, does just that with Inarritu. There is originality in the storyline but if Keaton fans came looking for a return of his ‘Batman’ days then you will be sordidly disappointed because this is a different kind of a movie, there is no glamour here, there is no good versus evil, unless fighting your inner demons count, for Keaton’s character.
Innaritu is someone who is creatively interested in bringing a rare kind of energy into his films, and with this film he sort of paid a tribute to Alfred Hitchcock’s Rope (1948), cinematically – the film appears to have been shot in one take entirely. Keaton’s character first appears as Riggan Thomson, a yesteryear star dreaming of his glittering career coming back to him, spectacularly with a broadway play, and a Thomson that could never give up Birdman, even though he parted with it a long time ago, and the fame, the money that came with it.
He was so attached to Birdman, a mystical mental representation in the form of a furry playmate, appears occasionally, to taunt him of his ways, comically. The other cast members in the film are practically non-existent, but that is alright because they really just get to play an arm candy, a daughter, who is a pregnant personal assistant, and an overbearing newfangled star, who is also sleeping with his anxiety-ridden co-star. Inarritu, who has previously directed the critically-acclaimed Babel, creates a brilliant film, which is at the same time riveting, as it is funny.
Film rating: 7/10.