Birdman or (The Unexpected Virtue of Ignorance) [2014]

Riggan (Michael Keaton) is a washed-up superhero actor who is trying to reinvigorate his career by adapting, directing, and starring in a Broadway production of Raymond Carver’s “What We Talk About When We Talk About Love.” While preparing for the production, he grapples with his past, his co-stars, and his family. Birdman or (The Unexpected Virtue of Ignorance) is the story of Riggan and his fractured mind as the dichotomy of man becomes abundantly apparent.

Birdman or (The Unexpected Virtue of Ignorance) is one of those films that can be difficult to describe to viewers. The story is simple enough to follow, but the hidden meanings that exist throughout every step of the way can be challenging to convey to others. While on the surface of the film exists a story about a Hollywood actor trying to recapture his relevance, Birdman or (The Unexpected Virtue of Ignorance) does a brilliant job of remaining grounded enough that it becomes accessible to typical viewers. The success of the film ultimately stems from two things: the cinematography and the acting, and both go hand in hand with one another. They, too, lend themselves to accessibility and the ultimate success of the film.

Starting with the cinematography, which really is the most impressive part of Birdman or (The Unexpected Virtue of Ignorance); I was floored by what Director Alejandro G. Iñárritu and Director of Photography Emmanuel Lubezki are able to create in this regard. The film is developed in a way that is meant to make it appear as if it were done in one, continuous shot. While there are breaks in filming, the fluid nature of the film, and the incredibly long segments almost force viewers to believe, every now and again, that this film was, in fact, one, continuous shot. The beauty of what this team was able to create in regard to the cinematography is stellar and potentially unparalleled anywhere else in cinema.

The cinematography in Birdman or (The Unexpected Virtue of Ignorance) is incredibly invasive, being shot almost entirely in close up–and with that each of the actors are presented the unique disadvantage of not being able to fade into the background or rely on others to take away the focus. With the way in which the film was shot, actors have to roll with the punches, and if some mistakes are made, it’s important that those actors find organic ways to rectify those issues and continue driving the film forward. Every single actor from Keaton to the most seemingly insignificant actors (in terms of the film) such as Jeremy Shamos (Ralph) are brilliant, never missing a beat and bringing Birdman or (The Unexpected Virtue of Ignorance) to live with a vigor that you likely won’t find anywhere else. The best of the bunch, however, is Edward Norton (Mike Shiner).

Norton is notorious for being difficult to work with on set, and the character he finds himself playing is a Hollywood version of the stories we’ve all been told about him. He must effectively bring parts of himself into the fold, and by doing so he helps to create a character that is so beautifully meta, and perfectly layered, that everyone can appreciate him. Mike, in my opinion, is the most important character in Birdman or (The Unexpected Virtue of Ignorance), as he appears to be a physical representation of all that is wrong with the world. For nearly two hours Norton gets to be a dick, and the aggression that he delivers over and over again throughout the course of Birdman or (The Unexpected Virtue of Ignorance) is inspired, accessible, and simply masterful.

I grappled with whether or not Birdman or (The Unexpected Virtue of Ignorance) is a film that only appeals to the Hollywood elite and those that exist adjacent to the industry, or if it was able to extend itself further and appeal to a general audience as well. Throughout the majority of the film I believe that it does a great job of extending a hand and reaching a wide-range of viewers. Birdman or (The Unexpected Virtue of Ignorance) often uses magical realism to add a bit of luster to the film, and that’s more than welcome–often doing just enough to exist in a surreal space in cinema, but sometimes it goes too far.

One of the major questions of the film is: “Does Riggan Thomson have super powers?” This is where the film gets tricky, because there are moments in the film where there is no explanation as to how or why he’s doing the things that he does–and in these moments I believe that Birdman or (The Unexpected Virtue of Ignorance) extends itself into science fiction. While I love the science fiction genre, particularly superhero films, in a film like this, one that tries so hard to remain grounded and accessible–diving into science fiction is a bad call. I ultimately subscribe to the idea that Riggan does, in fact, have superpowers–and that not only dilutes the character’s development, but the film as a whole. While the end of the film is an ambiguous one, this is the point of the film that ultimately supported my belief in regard to the superpower ordeal–and I can’t seem to get that idea out of my head. This is how Birdman or (The Unexpected Virtue of Ignorance) ended for me, this is one of the things that most vividly remains in my mind when I think of this film–and that’s troublesome.

You would be hard pressed to find a more relevant film than Birdman or (The Unexpected Virtue of Ignorance), a film that more accurately examines and sums up the issues of modern society. That’s what is most appealing about the multi-Oscar winning film, that’s what allowed me to feel things throughout. It’s ultimately the cinematography and the acting that allows this to become a reality, that allows the words in the team-developed script to come to life in such a vibrant and impressive way. With the exception of becoming a superhero film, Birdman or (The Unexpected Virtue of Ignorance) is nearly perfect–extending itself in a series of important and relevant directions that will appeal to viewers from all walks of life.

Directed by Alejandro G. Iñárritu.

Written by Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Armando Bo, & Raymond Carver.

Starring Michael Keaton, Emma Stone, Kenny Chin, Jamahl Garrison-Lowe, Zach Galifinakis, Naomi Watts, Jeremy Shamos, Andrea Riseborough, Katherine O’Sullivan, Damian Young, Keenan Shimizu, Akira Ito, Natalie Gold, Merritt Wever, Edward Norton, etc.

⭐⭐⭐⭐⭐⭐⭐⭐½/10