1 hour ago
Friday, 16 January 2015
First of all, must admit that I wasn't in a very receptive mood yesterday. 'Birdman' has been around on screens here since before Xmas, and now at the tail-end of its cinema run I was determined to catch it on the big screen, particularly as such marvellous things have been said about it. Unfortunately this meant taking a chance that it would be okay to leave my ageing black cat, disappear for five hours and return in the dark, expecting to find him sitting outside, lone and vulnerable, awaiting my re-appearance. Anyway, I'm afraid that his plight kept returning to my mind whilst travelling to and from the cinema, and on and off while the film was playing, wondering if I'd done the right thing and would regret it. As it turned out, I returned to find him sleeping on my bed in the very same spot in which I'd left him!
In 'Birdman' Michael Keaton plays an actor approaching advanced years, most renowned for having appeared as the film's eponymously-titled hero in a three-film franchise. He's now trying to transform and lift his career from the doldrums into a live theatre actor through a Raymond Carver relationship drama, while having to put up with know-it-all Edward Norton who comes in to replace his injured co-principal lead in the play. Most of the action is concerned with the sparks these two strike off one another outside the play through their respective highly abrasive and confrontational personalities. Keaton also has, incidentally, telekinetic powers (don't ask!), as well as he being regularly sniped at by the snarky, critical voice of the 'Birdman' character he'd created. There are a number of highly surreal moments in the film, the most extended one being in the film's final quarter when the owner of this ghost voice makes a fully-feathered appearance.
For me the most distracting aspect of the film (and this is one which is being remarked on as a brilliant tour-de-force) is the camerawork. It's all done very smoothly as if it to suggest that the entire film has been made in just one single camera take, with its continuous perspective gliding here and there, inside the theatre and its rooms and out on the street, veering round corners, up and down stairs, glancing this way and that - I found myself wondering where it would go next and who would be the next player to come into shot, more than the film's actual content. (Alfred Hitchcock tried much the same thing in his film 'Rope', though that was all set in a single room and the technical limitations of the time mean that one can tell where the 'joins' are - around every 10 minutes.) I wouldn't deny that the camerawork in 'Birdman' is an accomplishment, but to what end?, I ask myself.
The non-cliche script was, on the whole, impressively constructed.
Acting from all parties is excellent. I'd single out Naomi Watts - and there's the unexpected two-scene appearance of the marvellous Lindsay Duncan as a blood-freezing theatre critic determined to destroy the play and Keaton's career along with it. As for Keaton himself, his performance has 'award' written all over it, and he'd not be an unreasonable choice as winner. I doubt if he's ever been so stretched on film up to now. (The Oscar nominations were actually announced yesterday while I was in the cinema. I'm still rooting for Eddie Redmayne to win, with Keaton as an also-ran.)
'Birdman' is a curious, unusual film, presented with total visiual confidence through the unfettered imagination of Mexican director Alejandro Innarritu, who fully utilises cinematic technique the way it's possible be used. Though after it was all over I did look back and find it all somewhat a bit overburdened with camera tricksiness which skewed it away from a strong central focus. Incidentally, I gave similar very qualified approval for the widely well-received 'Grand Budapest Hotel' (also nominated for Oscars) which was remarkable visually, often glorious to look at, but otherwise over-dressed for the slightness of its story. I offer rather different reasons for giving 'Birdman' a like-reserved 'yes'.
Oh, and one more thing. I've seen/read critics calling this a 'funny', even 'very funny' film. Apart from a few amusing one-liners I didn't really see much to laugh at in it at all.
As I say at the start, if I were to see 'Birdman' again I'm pretty sure that my opinion would be higher than it is now - and hope that next time I wouldn't have to be battling thoughts again about my cat! But for an initial appraisal, after just one viewing, and fully aware that my judgment may make some shake their heads at my failure to recognise a 'masterpiece', I must be honest - which means awarding it a..................6..