Birdman (2014): Michael Keaton goes meta on the superhero genre in his Oscar-winning comeback

Chad’s Grade: B+

Hollywood loves a comeback story, especially the Academy Awards. In the 90s, John Travolta came roaring back to relevance when he starred in Quentin Tarantino’s “Pulp Fiction” and would dominate the rest of the decade in a string of box office hits. After her music career floundered, Cher made her dramatic return in the ’80s, remaking herself into a serious actress with “Silkwood” and then winning the Best Actress Oscar for “Moonstruck” in 1988.  And who can forget Robert Downey Jr., whose career floundered as he battled drug addiction resulting in several embarrassing public meltdowns. But he pulled himself together, got clean & sober, and after taking a sharp turn in the mystery comedy “Kiss Kiss Bang Bang,” he became the face of the never-ending MCU franchise with “Iron Man.” 

In 2014, the Oscar Winning “Birdman” became marked as a Michael Keaton “comeback,” although that’s a bit of an exaggeration. After walking away from the Tim Burton “Batman” franchise in 1992, his star power faded with several underwhelming and forgettable films. In fact, Keaton’s “Batman” connection serves as a meta-commentary running through “Birdman” and showing that the former Bruce Wayne was capable of profound and dramatic work. 

“Birdman” has elements of the classic backstage “the show must go on” variety. We follow actor Riggan Thomson attempting a comeback by writing and starring in a Broadway production adapting a classic Raymond Carver short story. Twenty years ago, Thomson was the star of the blockbuster “Birdman” franchise films, but he now wants to return to his roots and celebrate the writer who inspired him to become an actor. During the tense month of previews, Thomson must deal with an extreme method co-star, the unfiltered criticisms of his teenage daughter, the doubts of a “birdman” obsessed press, and an arrogant theatre critic intent on tearing him down opening night. All these complications are punctuated by the lingering voice of doubt that everything will collapse like a house of cards and that he should do that “Birdman” revival. 

The film was directed by Alejandro G. Iñárritu, who steps outside his usual dramatic comfort zone as he imbues the piece with a playful, dreamlike atmosphere. Save for a few shots at the beginning and end of the film, “Birdman” looks like it was shot in one continuous take a la “1917.” The camera trickery by the great cinematographer Emmanuel Lubezki gives the impression that we are inside Thomson’s mind as he faces crisis after crisis before opening night. The film begins with Thomson floating mid-air, and he moves objects telepathically during critical moments. And there’s that beautiful meta-drawly “Birdman” voice urging him to give up this theatre fallacy and return to the safe arms of the superhero franchise that made him wealthy. 

The movie is smartly built out of Keaton’s history with the “Batman” franchise, and you can see him draw clever parallels from that connection. This is a terrific showcase for the actor, and while he’s done other dramatic work watching Keaton thread the needle by mirroring autobiographical elements is thrilling to watch. There’s a great dialogue exchange near the beginning where they need to find a replacement actor for the play, and as they rattle off a list of popular names, every single one is attached to a superhero franchise. 

This meta-commentary extends to the other actors who shine in their supporting turns. Emma Stone (who starred in Marvel/Sony Spiderman) is mesmerizing as Sam, Riggan’s moody, wise-cracking daughter. Edward Norton (who was the MCU’s original Hulk) does a great send-up of method crazy actors (like himself) as Mike, whose high-maintenance style pushes Riggan to go deeper and improve as an actor. And both Sam & Mike’s “truth or dare” scenes crackle with flirty energy. Rounding out the cast is Naomi Watts, who plays an insecure actor making her long-overdue Broadway debut.

In addition to the meta-commentary is the “art vs. commerce” theme that permeates the film. This is apparent in one of the film’s most soul-crushing scenes as Riggan faces off against a theatre critic who informs Riggan he’s a clown in a bird costume, and she intends to trash his play. And Riggan’s insecurities manifest in the exaggerated “Birdman” voice constantly in his head and his “telepathic” outbursts. Even the name of the film, “Birdman or (The Unexpected Virtue of Ignorance,” is an on-the-nose representation of an artist caught between the push and pull of “art and commerce.”

I’m not a big fan of Iñárritu as I find his films overly dramatic and pretentious, so I was surprised how much I enjoyed “Birdman.” There’s a flow, pacing, and energy from everyone involved, and it’s hard not to get involved in Riggan’s journey. It’s also a fascinating backstage peek at the world of Broadway, especially as it was filmed on location at the St. James theatre in New York. This is an actor’s actor movie but highly entertaining to watch. 

The 2014 BEST PICTURE NOMINEES

American Sniper

Birdman or “The Unexpected Virtue of Ignorance” – Winner

Boyhood

The Grand Budapest Hotel

The Imitation Game

Selma

The Theory of Everything

Whiplash

This was a decent, if an unexciting, group of nominees. All the films deserved their nominations, but I don’t think this was a great year of cinema. “American Sniper” was the box office champ of the list, but I found the Clint Eastwood dramatic actioner a tad overrated despite Bradley Cooper’s powerful performance. I remember enjoying “The Imitation Game” as it was a fascinating portrait of mathematical genius Alan Turning who helped crack the German enigma code during World War II. 

But my favorite movie that year was “Boyhood,” directed by Richard Linklater. Filmed over 12 (!) years, we follow a young boy Mason as he grows into an 18-year-old man. The 12-year film project is like a time machine as we watch all the actors, not just Ellar Coltrane as Mason but his parents, played by Ethan Hawke & Patricia Arquette, move through the years. It’s a profoundly moving, exquisitely filmed piece of cinema as we watch the real-life aging process and all the childhood tribulations unfold in a realistic fashion. One can imagine the planning and discipline involved in pulling this magic trick off.

So, the Oscar race for Best Picture came down to “Birdman” vs. “Boyhood.”

DID IT DESERVE TO WIN?

Nope. This award should’ve been handed to “Boyhood” as the experimental film was something I had never seen before. Not only are the transitions and various years edited seamlessly together, but the film also features career-best performances from Ethan Hawke & Patricia Arquette. This was also a high point for Richard Linklater, who started way back in 1993 directing “Dazed & Confused.” I was stunned when not only “Boyhood” lost to “Birdman,” but Iñárritu took home the Best Director Oscar.

So why did Birdman reign triumphant on Oscar night? The largest voting bloc in the Academy is the actor’s branch, and Birdman is a love letter to acting and the craft of the theatre. It was hard not to vote for a movie that mirrors your profession so expertly while highlighting all the pain and sacrifices in an entertaining way. I enjoyed the playful comedy of “Birdman,” but the meditative drama of childhood slipping away in “Boyhood” made it the Best Picture of 2014.